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Albius is the typical citizen, rich and uxorious, shrewd and foolish, whom Jonson has already ridiculed as Deliro in Every Man Out (see the Character of the Persons).

Aristius. Aristius Fuscus was a friend of Horace, who addressed to him Carm. 1. 22; cf. also Sat. 1. 9. 61; Epist. 1. 10. He represents no contemporary of Jonson.

Caesar. Augustus Caesar, the patron of literary men, had himself claims to the honors of authorship. Servius, Suetonius, and Plutarch tell us that he wrote thirteen books of Memoirs of his life; Suetonius adds that he composed a Summary of the Empire; Pliny and others state that he published Letters to his grandson Caius. The following facts will be of use in our subsequent discussions: he was born Sept. 23, B. C. 63, the son of C. Octavius by Atia, a daughter of Julia, the sister of C. Julius Caesar; he became undisputed master of Rome, B. C. 30, and died Aug. 19, A.D. 14.

Chloe. A Chloe appears in Horace, Carm. 1. 23 and 3.9. Chloe is here the typical city wife, with aspirations above her station. Cf. Fallace, Every Man Out (the Character of the Persons): 'Deliro's wife, and idol; a proud, mincing peat, and as perverse as he is officious. She dotes as perfectly upon the courtier [Fastidious Brisk], as her husband doth on her, and only wants the face to be dishonest.' With Albius and Chloe, Deliro and Fallace, compare Cornutus and the Cittie Wife in Every Woman in her Humor, especially in act 4. The Cittie Wife is a scolding wanton, and Cornutus as besotted as Deliro. Cornutus is always crying 'Mum, mum!' like Albius. This play was first published in 1609, but Fleay thinks it was acted in 1602.

Crispinus. Rufus Laberius Crispinus: most of the occurrences of these names have been noted by Small, in the Stage-Quarrel. The Crispinus ridiculed by Horace (Sat. I. I. 120; I. 3. 138; 1. 4. 13-6) is generally supposed to have been a bad poet and pseudo-philosopher surnamed Aretalogus who wrote verses on the Stoics. The name,

however, may be merely a fiction of Horace's. Rufus Nasidienus is the foolish host in Sat. 2. 8. But, as Small and others have remarked, Jonson probably adopts Rufus for its meaning red, suggesting the color of Crispinus' hair and beard (cf. 2. 2. 83 ff. of Poetaster, and our note). Laberius Decimus (B. C. 107-43), referred to by Horace, Sat. 1. 10. 6, as one whose works were witty but not beautiful, was a Roman eques and a celebrated writer of mimes. He has been censured for strange expressions and too frequent word play, and it may be these that prompted Horace's sneer. Penniman has noted the stricture of Aulus Gellius (Attic Nights, book xvi, ch. 7) upon the diction of Laberius. The chapter heading is: Quod Laberius verba pleraque licentius petulantiusque finxit: quod multis item verbis utitur, de quibus an sint Latina quaeri solet. It is obvious that to Jonson the name Laberius possessed associations applicable to John Marston, with his fondness for pompous and uncouth phraseology.

The full description of Crispinus as he appears in Poetaster now follows. He is a gentleman born (2. 1. 92 ff.; 3. 1. 27; 3. 4. 172-3); has little legs (2. 1. 95-7); is an observer of men and manners (2. 1. 156, 171–2); is unattractive as to face, beard and hair, which are probably red, cf. his name Rufus (2. 2. 83 ff.; 3. 1. 29); sings well (2. 2. 183-5); 3. I 190-1, et passim); plays the viol (4. 3. 55 ff.). He is a poet (3. 1. 24, 44, 91 ff.; 4. 6. 30); a satirist (3. 1. 24 ff.); a gallant and reveler (3. 1. 178–188); he pretends to scholarship (3. 1. 20); he is ambitious of the patronage of the great (3. 1. 247 ff., 285 ff.). He has dealings with brokers (2. 2. 236); is in debt to his apothecary, who causes his arrest (3. I. 162 ff.; 3. 3. 4 ff.); is in debt to his mercer likewise (3. 1. 80-2); his clothing is fashionable but shabby (3. 1. 72-8; 3. 3. 1-3); he has no money in his pocket (3. 4. 82-5). He writes plays, in loud and tragic style (3. 4. 171-7); Histrio, who is a stranger to him (3. 4. 168 ff., 303-5), gives him 'in earnest' (3. 4. 302-5); he is accused of

plagiarizing from Horace (4. 3. 98-9); is called 'poetaster and plagiary' (5. 3. 225); will write only 'innocence' in the play (Satiromastix) that is to abuse Horace (4. 7. 30-4); calumniates Horace (5. 3. 231-240, 285–303, 429-435). He is not familiar with Greek literature (5. 3. 564-5); writes in style and with vocabulary demonstrably Marstonian (5. 3. 285-303); vomits up Marstonian words (5. 3. 484548); is an ‘Untrusser' or 'Whipper of the Age' (5. 3. 627-8).

That Crispinus is meant for the well-born satirist and dramatist Marston is now, I suppose, universally admitted; had the testimony of Dekker and of Jonson himself been properly weighed, there need never have been any doubtscf. Satiromastix, pp. 195-9, et passim, and the oft-quoted passage from the Conversations with Drummond: 'He had many quarrells with Marston, beat him, and took his pistol from him, wrote his Poetaster on him.' Moreover, in the verses ascribed to Crispinus (5. 3. 285-303), and in the words he vomits up (5. 3. 484-548), Poetaster itself furnishes conclusive proof of this identification. This matter of Crispinus' diction, which is most important, is elsewhere dealt with in detail-cf. the starred words in the Glossary and the discussion of them in the notes. We shall here confine our attention chiefly to other points of evidence. In Satiromastix (p. 195) Dekker plainly identifies himself with Anaides of Cynthia's Revels and Demetrius of Poetaster, and Marston with Hedon of the former play and Crispinus of the latter, thus:

Asinius. Nay I ha more news, ther's Crispinus & his Iorneyman Poet Demetrius Faninus [sic] too, they sweare they'll bring your life & death vpon'th stage like a Bricklayer in a play.

Horace. I thinke but what they are, and am not moou'd.

The one a light voluptuous Reueler,

The other, a strange arrogating puffe,

Both impudent, and arrogant enough.

Asin. S'lid do not Criticus Reuel in these lynes, ha Ningle ha?
Hor. Yes, they're mine owne.

With the above, cf. the speech in which Crites (Criticus in quarto), characterizes Hedon and Anaides in Cynthia's Revels 3. 2. After the speeches we have cited in Satiromastix, Crispinus and Demetrius, whom Dekker uses to represent Marston and himself as Jonson has done, enter and upbraid Horace for his calumnious exposure of the weaknesses of his friends and for his attacks on Court, City, Soldiers, Lawyers, and Players-the allusions being directly to Poetaster. Warning him that his bitter riddling may draw down retaliation in kind, they still profess a willingness to forgive the past, and end by shaking hands with Horace in token of renewed friendship.

It should be noted that neither in this scene nor in any other does Dekker allude to Fastidious Brisk, of Every Man out of his Humour, and his reference to Carlo Buffone (p. 263, Sir Vaughan loq.) of the same play cannot be taken as a sinister stroke at his friend Marston, or at his devoted self. Yet Fleay (Chr. 1. 368–9, 360) identifies DemetriusDekker with Buffone and Anaides, although elsewhere (Chr. 2. 75) he says, 'Now Anaides is acknowledged to be Marston'; and again (Chr. 1. 97), 'I thought that, if anything was settled in criticism, it was the identity of Crispinus and Carlo Buffone with Marston.' As to Fleay's contradictory assertions about the characters supposed to represent Marston and Dekker, see the footnote to p. 46 of Penniman's War of the Theatres. The identification Carlo-AnaidesMarston, which represents the last opinion of Fleay and the main contention of Penniman, has been proved untenable by Small (Stage-Quarrel 30 ff.), and no further examination of the question is requisite here. The necessary conclusion seems to be that Hedon and Crispinus are Marston; Anaides and Demetrius, Dekker; while the various identifications of Fastidious Brisk and Carlo Buffone are not proved.

The resemblances between Hedon of Cynthia's Revels and Crispinus of Poetaster are most readily seen in the former

play, 2. 1, where Mercury characterizes Hedon as a fop, an exquisite, who lives by appearances. Hedon is in debt to the mercer, the tailor, and the stocking seller, whom he recompenses with blows. His wardrobe frequently goes into pawn; occasionally he hires a stock of apparel, together with forty or fifty pounds in gold, to make a temporary display. He is a courtier, overloaded with perfume, and a rhymer, which is thought better than a poet; he affects to be a musician and a scholar. In Fastidious Brisk of Every Man Out (see the Character of the Persons) Jonson had already presented the courtier of the period, fashionable but needy, always self-seeking and unscrupulous. Brisk was a type, and Jonson loved types. When Cynthia's Revels was written the courtier was again included, but now Jonson added finer lines that produced a Hedon both individual enough to resemble Marston, lately become an object of Jonsonian spleen, and typical enough to warrant the disavowal of personal allusion. With Crispinus, who is designed to be a biting and unmistakable satire of Marston, Hedon has these points in common: he is rimester, musician, and 'scholar'; in debt for his fashionable clothes; acquainted with pawnbrokers; a gallant, whose presence is merely tolerated by the society he forces himself upon. In short, Fastidious Brisk is a study, slipped off-hand into a full portfolio; Hedon is the same study turned to account by the addition of a few clever strokes, yet still retaining generic characters, as it were; Crispinus is the deliberate and relentless caricature, telling in its generality and its individuality, in its fidelity and its exaggeration.

It remains to discuss some of the details of the portrait given us of Crispinus. 'His father was a man of worship,' says Tucca (3. 4. 172-3), and Crispinus is continually reverting to his gentle birth. This points to Marston, and not to Dekker. With one Robertus de Marston, who held a manor in Salop in the thirty-fifth year of Edward I., Grosart (Poems of John Marston p. vi) begins his geneal

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