as an afterthought, does not follow from the facts above stated. In the winter of 1600-1601, more than a year after the recorded collaboration with Dekker, Jonson produced Cynthia's Revels. Penniman's identifications - 'Carlo = Anaides Marston' (ibid. 46 note), and Master Mathew (Every Man In) Fastidious Brisk Hedon Samuel = Daniel (ibid. 18-19)—have obliged him to argue that Jonson's relations with Dekker were quite amicable between the summer of 1599 and the summer of 1601. Of this, however, he can offer no proofs, and doubtless the real situation, however brought about, was that by the time Cynthia's Revels was under way Jonson's spleen had been roused against Dekker, and that the latter was therefore represented in the play as Anaides. Penniman implies that there was no cause for an attack by Jonson upon Dekker previous to the undertaking of Satiromastix. If such were the case, the fair inference would be that Dekker made a most acrimonious assault upon Jonson, hitherto supposedly his friend, for no reason except that he might win the probably less valuable good-will of Marston and the money offered by the players, who had their own reasons for hating Jonson. Several facts make such a wanton attack improbable: 1) Jonson, as Drummond later found, was 'jealous [pace Gifford] of every word and action of those about him,' . . 'passionately kynde and angry' (Conversations p. 40), and thus more likely than Dekker to take offence; 2) thanks to his amazing fertility of invention and rapidity of production, Dekker had no need of Jonson as a subject in order to make a play and find sale for it; 3) there is far more bitterness in Satiromastix than would be natural if Dekker were writing purely for hire, or for hire and the sake of replying to the attack upon himself as Demetrius in Poetaster only; 4) Dekker explicitly refers to Cynthia's Revels, and assumes that the characterization of Hedon and Anaides was directed against Marston and himself; and, finally, 5) it has been demonstrated by Small (Stage-Quarrel passim) that Anaides is not Marston, and that Hedon is not Daniel-as Penniman believes. In the Character of the Persons and the Induction of Every Man Out, Carlo Buffone is described as epicure, parasite, and back-biter. In 2. 1, Puntarvolo addresses him: How dost thou, thou Grand Scourge or Second Untruss of the time?" Now Fleay identified Buffone as well as Anaides with Dekker (Chr. 1. 368-9); though later he came to agree with Penniman (War of the Theatres 46 note): '. . . You are right, Carlo Anaides = Marston Second Untruss.' But that Carlo Buffone was not understood by Dekker himself to represent either Marston or Dekker, while he may still have represented some real character, appears from Satiromastix (p. 263): 'Sir Vaughan [to Horace-Jonson] In brieflynes, when you Sup in Tauernes, amongst your betters, you shall sweare not to dippe your Manners in too much sawce, nor at Table to fling Epigrams, Embleames, or Play-speeches about you (lyke Hayle-stones) to keepe you out of the terrible daunger of the Shot, Vpon payne to sit at the vpper ende of the Table, a'th left hand of Carlo Buffon: sweare all this, by Apollo and the eight or nine Muses.' It is inconceivable that Dekker should threaten Horace with the punishment of sitting next to Carlo Buffone, if he knew Carlo to have been originally created by Jonson to caricature either Dekker or Marston, and likewise inconceivable that Carlo could have been so intended by Jonson and Dekker not know it. As to the allusion in Puntarvolo's speech, I quote Small (StageQuarrel 35-6): "The fact that Puntarvolo calls Carlo "Thou Grand Scourge or Second Untruss of the time" (ii, I, p. 154) [Mermaid edition]-the fact on which alone rests Penniman's whole argument that Carlo is Marston-does not make in the least against my assertion; for the passage, which is clearly a jocose allusion to Marston's Scourge of Villany, means no more than "thou railer, thou satirist, thou second Marston." In exactly the same way, Marston, in What You Will ii, 1, 134, makes Quadratus call Lampatho (whom I shall clearly prove to be meant for Jonson) "you Don Kynsader", using as equivalent to "satirist" the nom de guerre over which he himself had issued his satires.' Small goes on to quote with approval the opinion of Aubrey (Lives 2. 514) that Carlo Buffone was really modelled upon one Charles Chester, an impudent sponge who came to grief at the hands of Sir Walter Raleigh. As for Anaides, we quote in part his characterization by Mercury in Cynthia's Revels 2. 1: ''Tis Impudence itself, Anaides; one that speaks all that comes in his cheeks, and will blush no more than a sackbut. He lightly occupies the jester's room at the table, and keeps laughter, Gelaia, a wench in page's attire, following him in place of a squire, whom he now and then tickles with some strange ridiculous stuff, uttered as his land came to him, by chance. He will censure or discourse of anything, but as absurdly as you would wish. His fashion is not to take knowledge of him that is beneath him in clothes. He never drinks below the salt. He does naturally admire his wit that wears gold lace or tissue; stabs any man that speaks more contemptibly of the scholar than he. He is a great proficient in all the illiberal sciences, as cheating, drinking, swaggering, whoring and such like; never kneels but to pledge healths, nor prays but for a pipe of pudding-tobacco.' The portrait of Demetrius in Poetaster is not flattering, yet is mild compared with this caricature; it is not hard, therefore, to see the real animus of Satiromastix. To repeat: it seems certain that Hedon and Crispinus are meant for Marston; Anaides and Demetrius for Dekker; while the various identifications of Fastidious Brisk and Carlo Buffone are not proved. Gallus. C. Cornelius Gallus was born in Gaul, of poor parents, about B. C. 66. At twenty he had begun his career as poet in Italy. Upon the death of Caesar, Gallus attached himself to the party of Octavius. In 41 he was triumvir, and in 31 commanded a detachment of the army at Actium. He was made first prefect of Egypt: cf. Poetaster 5. 1. 8-10. After four years there, he became estranged from Augustus; his estates were confiscated, and himself banished by the Senate. He then committed suicide, B. C. 27. Gallus wrote four books of elegies, chiefly upon his mistress Lycoris. In Trist. 2. 3. 445-6, Ovid gives us an interesting hint: Non fuit opprobrio celebrasse Lycorida Gallo, The story goes that the banishment of Gallus and the confiscation of his property were due to his having revealed, when drunk, certain secrets confided to him by Augustus. 'Gallus, a friend of Horace (3. 1), is a warrior and also a poet (5. 1). He may be the Gallus upon whom Davies wrote his Epigram.' Thus Penniman (War of the Theatres 109), referring to Epigram xxiv, In Gallum, by Sir John Davies (ed. Grosart 2. 23). There is absolutely no proof offered, nor at present obtainable, for this pseudo-identification. So far as Jonson's learning and the exigencies of Poetaster have permitted, Gallus is the historical Gallus. Hermogenes. M. Tigellius Hermogenes was a Sardinian musician high in the favor of Julius Caesar and afterward of Augustus. He had a fine voice and courtly and insinuating address. Horace seems at one time to have admired him, as in Sat. 1. 3. 129-130 he says, 'Even though Hermogenes be silent, he is still a fine singer and musician.' Sat. 9 of the first book is not uncomplimentary to the court singer; but Sat. 10 sneers at Hermogenes' ignorance of the ancient poets. Maecenas, Virgil, even Octavius, have approved the satires of Horace, but Hermogenes has carped at them and tried to injure the author. He is advised, in conclusion, to go and lament among his female pupils. Who these discipulae were appears from the second satire of the first book. The singer is by this time dead—we must keep in mind that the Satires are not arranged in chronological order. Cf. Horace, Sat. 1. 2. 1-4; 1. 3. 1-8. Jonson had the latter passage in mind when writing Poetaster 2. 2. 107-213. Cicero adds his testimony as to the meanspiritedness of the musician. In Fam. 11. 19, B. C. 46, he tells F. Gallus that all of Caesar's friends except the notorious Tigellius treat him with marked respect. It has been conjectured that Pantolabus, the parasite in Horace, Sat. 1. 8. 10 and 2. 1. 22, is also Hermogenes. In Timon, the University play, there is a cowardly fiddler Hermogenes, who masquerades as a gallant on gold bestowed by Timon. Having flouted the latter in his misfortunes, Hermogenes is soundly beaten by a faithful servant of Timon's. Of Hermogenes it is said (ed. Dyce p. 19): 'There's not a veryer knaue in all the towne.' The character is probably drawn from Horace. The Hermogenes of Poetaster is thus described: he is subject to the 'melancholy' fashionable in Jonson's time (2. 2. 102); he is 'humourous as a poet' (2. 2. 107-8) and is 'hard-favoured' (2. 2. 105). He is a musician, but not a poet (2. 2. 107-8), and sings excellently (2. 2. 10910); he is a song-writer (2. 2. 165-8), and contends with Crispinus (2. 2. 188 ff.); is called the only master of music in Rome (3. 1. 190-2), but envies Crispinus' skill in singing. At the banquet of the gods, he plays Momus, the god of reprehension (4. 5. 5-9); is called minstrel and fiddler (4. 5. 81-3); sings with Crispinus again (4. 5. 190 ff.). Fleay queries (Chr. 1. 368): 'Hermogenes is a musician, but not a poet [is he meant for John Daniel?]' In Chr. 1. 96-7, Fleay identifies Hedon of Cynthia's Revels, Fastidious Brisk of Every Man Out, and Hermogenes of Poetaster, with Samuel Daniel the poet. In its article on Samuel Daniel, D.N.B. tells us: 'A brother, another John Daniel [the father was also John], was a musician of some note; he proceeded bachelor of music at Christ Church, Oxford, 14 July 1604, and published "Songs for the Lute, |