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or sergeant of the Counter, was here the object of Jonson's malicious punning! In Poetaster (5. 3. 96-101) there is a play on Lupus, and upon Asinius also:

Lupus. On, on, a Vulture, and a Wolfe

Horace. Preying vpon the carcaffe of an ASSE

Lup. An Affe? Good still: That's I, too. I am the affe. You mean me by the affe

Mecaenas. 'Pray thee, leaue braying then.

Perhaps some one's ingenuity can discover here allusion to another contemporary of Jonson whose name lends itself to punning and who is not beneath the notice of the great dramatist. Still one more passage (Cynthia's Revels 2. 1) of which Fleay has not availed himself:

Amorphus. . . Page, cast a vigilant and enquiring eye about, that we be not rudely surprised by the approach of some ruder stranger.

Cos. I warrant you, sir. I'll tell you when the wolf enters, fear nothing.

But to examine into this matter so far as we may. 'Wolf the printer' must be John Wolfe, who, after endeavoring to carry on printing as a member of the Fishmongers' Company, jointed the Stationers' on July 1, 1583 (Arber's Transcript 2. 688). He became a friend of Gabriel Harvey. 'He died before 6 April 1601, when his shop passed to William Ferbrand, and his press to Adam Islip' (DNB.). According to Arber (Transcript 2. 253), on April 6, 1601 'Alice woolf' was already the 'widowe late wife of John woolf Late citizen and Stationer of London Deceased.' Of one Reginald Wolfe, printer to Queen Elizabeth, a few facts may be gleaned from Harrison's Description of England, ed. Furnivall, I pp. iv-v, and note. Concerning 'Wolf the apothecary' I can discover nothing. I do find, however, Wolf, an officer of the Counter, in Eastward Ho, by Jonson, Chapman and Marston, quarto 1605. Note particularly act 5. scene 2, where there is much more play upon the name Wolf than in Cynthia's Revels or Poetaster. But cf. also 5. 2. 62: 'one Fangs, a sergeant.'

In short, I do not believe that 'Wolf the printer,' 'Wolf the apothecary,' whoever he was and however he may be supposed to have merited immortalization by Jonson, Wolf the bailiff or sergeant, or any other Wolf whatsoever, has been satirized in Poetaster.

I am obliged to notice one other possible allusion, also suggested by Fleay. In the Poems of John Marston Dr. Grosart has the following note (xv ff.) on 'Lopos-Like,' used in 'The Whipping of the Satyre' (1601), book 4 pp. 9-10: 'With reference, to "Lopos-like" (last line of quotation) Mr. Fleay kindly writes me:-"Not a wolf merely. It was a common satirical name of Dr. Lopez. (Dekker's Whore of Babylon, &c.) Cf. also Asinus [sic] Lupus in the Poetaster."' Now Roderigo Lopez (English writers spelled the name 'Lopus,' 'Lopas,' also) was a Jewish physician who settled in London, 1559, and rose to the leading rank in his profession. He became successively physician to Walsingham, the Earl of Leicester, and (1586) Queen Elizabeth. Having become entangled with Essex and with Spanish spies, he was finally accused of accepting a bribe from Philip II to poison Elizabeth, and in 1594 he was hanged at Tyburn. Sidney Lee suggests (DNB.) that the Lopez case may have suggested some of Shakespeare's work in the Merchant of Venice. Lopez is frequently alluded to in literature of the period, as Fleay remarks, notably in Marlowe's Faustus (sc. 11, ed. Bullen), Dekker's Whore of Babylon (ed. 1873, 2. 231), and Middleton's Game at Chess (4. 2. 117 ff., ed. Bullen). is barely possible, therefore, that Jonson, when he chose the name Lupus, did have in mind the case of the notorious Dr. Lopez; but it is difficult to see just how the implications of the modern name would add definition to the character of the meddling, over-zealous London magistrate, whom Lupus represents. The simple statement would be that Lupus is a suitable name for an envious and troublesome Roman official, as is Wolf for a turnkey, and Fangs for a sergeant, and there the matter may rest.

It

Luscus. In Sat. 1. 5, Horace ridicules Aufidius Luscus, chief magistrate of the town of Fundi in Latium, through which Maecenas and Horace passed on their way to Brundisium. This Luscus seems to have made as ass of himself upon the arrival of the illustrious travellers, for Horace writes (1. 5. 34-36) 'In high glee we left Fundi, in the praetorship of Aufidius Luscus, laughing over the magisterial insignia of that crazy scribe.' Jonson may have had this particular character in mind when he named the old servant of Ovid senior; but I think it more likely that the meaning of the word luscus, which is one-eyed, halfblind, was felt to describe fairly well the ignorant and officious 'varlet.'

Maecenas. No attempt has been made to identify Maecenas with any contemporary of Jonson's, and the princely Roman is too well known to require characterization here.

Minos. Minos was, of course, the name of the famous son of Zeus and Europa, who ruled in Crete, and after death became one of the judges in Hades. This character is probably not a satire on any contemporary of Jonson's. Nasutus. The names Nasutus and Polyposus were suggested by Martial (cf. Fleay, Chr. 1. 369), Epigr. 12. 37. I-2; 13. 2. I. The title page of Cynthia's Revels, fol. 1616, bears the line (Martial 12. 37. 2): Nasutum volo, nolo polyposum. Nasutus in Latin means large-nosed; fig., witty, satirical.

Ovid, Marcus. I have been unable to find any mention, among ancients or moderns, of the name of the elder Ovid. As the ultimate source for what we know of the poet's family is the Works, and as these do not contain the paternal praenomen or cognomen, the case seems hopeless.

Ovid, Publius. Jonson's portraiture of the poet Ovid is based principally upon Trist. 4. 10. As is represented in Poetaster act 1, Ovid was obliged by his father to study law, but poetry proved too alluring, and the paternal per

mission to complete his education in the liberal arts at Athens was at length obtained. With regard to Ovid's mistress Corinna, however, Jonson resorts to a questionable tradition. It was a belief current in Elizabethan times (see, for example, the Life of Ovid prefixed by George Sandys to his translation of the Metamorphoses, ed. 1640) that Ovid had been banished because of an intrigue with Julia the daughter of Augustus, and that she was the Corinna of the poems. This is the story which best served Jonson's purposes in Poetaster; but a few historical facts need to be recalled in this connection. Ovid was born B. C. 43; he was exiled toward the close of 8 A. D.; the Ars Amoris, alleged cause of his banishment, had been published about I B. C. He died in exile A. D. 18. The Julia usually connected with Ovid was born to Augustus and Scribonia, B. C. 39. By M. Vipsanius Agrippa she later became the mother of five children. Having married Tiberius Nero as her third husband, B. C. 12, she became so notoriously profligate that Augustus banished her in B. C. 2, and she died in exile sixteen years later. But there was a younger Julia, daughter of the first. She married L. Aemilius Paullus, but, for adultery with D. Silanus, her grandfather the emperor banished her in 9 A. D. She died A. D. 28. It will be observed that the date of Ovid's banishment is six years later than that of the elder Julia, but coincides almost exactly with that of the younger. Modern critics incline to believe that Ovid's banishment was due to his aiding to conceal the younger Julia's evil-doing (cf. Müller, Handbuch 8. 2. 1 §191), and that the Corinna of the early verses is to be regarded as only a creation of the poet's fancy (ibid. §294). It should be remarked, in conclusion, that Jonson is historically correct in not making Ovid one of the intimates of Horace, who was much older and can never have known him well.

In Poetaster, Ovid is introduced as a poet obliged by his father to study law (I. 1); he has written a tragedy

called Medea, that is 'comming foorth for the common players' (1. 2. 12-14), but says he does not 'traffique in their theaters' (1. 2. 68). He is a second son, and has only a 'bare exhibition' from his father (1. 2. 78-9); is of gentle blood (1. 2. 148-150), and a companion of wits and courtiers (passim). He is in love with Julia, daughter of Augustus (1. 3. 24-5, et passim), whom he calls Corinna (1. 3. 34-7); gives up law for love and the Muses (1. 3. 46-58); presides at the celestial banquet (4. 5), and is exiled1 from court by the emperor for 'soothing' Julia in her follies (4. 6. 53-8). He appears solus in 4. 8, and with Julia in 4. 9, but we get no further light on his character or history; at the end of act 4 he disappears from the drama, having been, in a way, its hero up to that point. It will be noticed that every one of these strokes of portraiture is authorized by history or tradition concerning the real Ovid, excepting as relates to the banquet of the gods, which was imitated from Homer and does not affect our consideration.

And now for Fleay's conjecture (Chr. 1. 367): 'In the play [Poetaster] Ovid, I think is Donne, who divided his attention between law and poetry, and married Anne Moore (Julia) without her father's consent. It is possible that the Medea tragedy is the Medea MS. Sloane 911; but I have not examined this. It is more likely that some other play is referred to, the name Medea being only given for local colour. It was the real name of Ovid's one play.'

I cull the following facts concerning John Donne the poet from DNB. Donne was born in 1573, the son of John Donne, a London ironmonger, by Elizabeth, daughter of John Heywood the epigrammatist. The family bore arms. The father died in Jan. 1575-6. Donne entered Hart Hall, Oxford, Oct. 23, 1584, when in his 12th year, and had for

'This cannot be regarded as Ovid's banishment to Tomi, which occurred in his fifty-second year, for he appears in Poetaster as a mere youth (cf. 1. 2, esp. 216–9).

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