means Burbage, who, I have no doubt, acted the lean Macilente.' Davies further supposes that 'Frisker' may be Kemp, and 'Mango, the fat fool,' may be Lowin, the original Falstaff.

Fleay (Chr. 1. 368-9) believes that the players in question are not members of the Admiral's company, then playing at the Fortune, but of Pembroke's-"just settled, after years of strolling in the country, 1600 Nov., at the Rose under Henslow, who was also managing the Fortune.' 'The players he [Tucca] invites to supper, 1, lean Polyphagus; 2, fiddler Aenobarbus; 3, politician Aesop (compare the politician players in Histriomastix); 4, "my zany," Frisker; "my mango," the fat fool, belong to Pembroke's company. Frisker is probably Kemp; the others Duke, Pallant, Beeston, &c. They are poor and starved this winter, and mean to hire Demetrius (Dekker, who wrote for the Rose and the Fortune) to bring Horace in in a play. But they did not. It was the King's men and Paul's boys who did that.' As to the last few sentences it is worth remarking that the company in question is not represented by Jonson as those who 'mean to hire Demetrius,' but as those who have hired him (Poetaster 3. 4. 339-342). It cannot be regarded as probable that Jonson did not really know what company had secured the services of Dekker, and Satiromastix was acted, as Fleay says, by the Chamberlain's company and the children of Paul's. Of course the opinion of Fleay that the players belonged to Pembroke's company, which seems to have been at this time acting at the Rose (Fleay, Stage 138), and that of Small that they belonged to the Chamberlain's company, acting at the Globe, require some plausible explanation of the words of Tucca to Histrio (3. 4. 135-6), 'You haue fortune . . . on your side'; while such an explanation is not needed if we accept Gifford's more obvious interpretation, that Histrio and the rest are by this very passage proved members of the company acting at the Fortune, i. e. the Admiral's. Fleay

argues that a member of Pembroke's company may properly be said to have Fortune on his side, though he acts at the Rose, because both the Rose and the Fortune are now managed by Henslowe and Alleyn. Small thinks it quite as natural to say to a member of the Chamberlain's company that he has Fortune on his side because the men of the Fortune would certainly be in sympathy with any company which purposed to produce a satire upon Jonson. I can but refer again to the arguments brought forward in the discussion of the identity of Histrio, and state my belief that Histrio and the other players belong to the Chamberlain's men. Of course the acceptance of such a conclusion involves the rejection of the identifications of the various actors suggested by Fleay. It seems to me that even if Fleay were right in holding that the Rose company was in Jonson's mind, we are quite incompetent to identify individuals from the characterizing phrases and nicknames supplied by Poetaster. So that when Fleay (Chr. 2. 322) speaks of 'Duke, "the fat fool" of Poetaster, he is treating as a fact what can be only a more or less remote possibility.

The suggestion that by 'Frisker, my zany' Jonson meant Kemp the morris dancer, is too plausible to be neglected without examination. I therefore submit what facts are obtainable, the more general being drawn from Sidney Lee's sketch in DNB. A letter from Sir Philip Sidney to Walsingham, March 24, 1586, speaks of a previous letter sent by 'Will my lord of Lester's jesting player,' which has been regarded as referring to William Kemp and proving him then a member of Leicester's company. This company passed in 1588 to the patronage of Lord Strange, and in 1594 to that of Lord Chamberlain Hunsdon. Although associated with men like Shakespeare, Alleyn, and Burbage, Kemp won his popularity not by legitimate acting, but by dancing jigs and singing comic songs at the close of plays. He acted in Every Man in his Humour.

His famous morris-dance from London to Norwich (mentioned by Jonson, folio 1616, p. 814) took place during Lent, I 599. An account of this he published in 1600: Kemps Nine Daies Wonder Performed in a Daunce from London to Norwich. About this time he seems to have travelled and danced abroad; but Henslowe's Diary (p. 215) notes a payment to him on March 10, 1602, when he had become a member of the Earl of Worcester's men, then acting at the Rose under Henslowe's management.

It is quite possible that when Poetaster was being written Kemp was not in England. Fleay himself notes (Stage 138) that the comedian went abroad in 1601. Compare, however, the following information given by Halliwell (Ludus Coventriae, 1841, pp. 409-410), as from MS. Sloan, 392, fol. 401: '1601, Sept. 2. Kemp mimus quidam, qui peregrinationem quondam in Germaniam et Italiam institituerat, post multos errores et infortunia sua reversus: multa refert de Anthonio Sherly equito aurato, quem Romae (legatum Persicum agentem) convenerat.' Kemp must therefore have returned from 'dancing the morrice over the Alps' about the time Poetaster was produced. The Diary shows us only that Kemp was with Henslowe by Aug. 22, 1602. It is clear that Tucca would not have invited any player to his supper who was known to be out of England. Halliwell's quotation shows that Kemp had returned by Sep. 2, 1601. Was he at home when Jonson was writing? Satiromastix was produced about September, and Poetaster must have been on the boards some little time before. We are therefore dealing with mere possibilities again. Kemp may have reached England by June, 1601, when Jonson was at work on Poetaster: Jonson may have thought of Histrio and the other players mentioned in 3. 4 as members of Pembroke's company, and included the newly arrived and ever popular Kemp under the name 'Frisker, my zany.' But it seems highly probable that Kemp was not yet home when Jonson was writing; and we have already seen reasons

for believing that Histrio, and therefore all his fellows, was a member not of Pembroke's, but of the Chamberlain's, company. The identification of Frisker, who might be any jigdancer, with Kemp, is therefore unconvincing.

Conjectures as to the identity of Poluphagus, Aenobarbus, Aesop, and Mango are futile.

Polyposus. Under Nasutus we recorded Fleay's observation that the names Nasutus and Polyposus were derived from Martial, 12. 37. 2. Polyposus means literally, 'One who has a polypus in the nose.' Identification with any contemporary of Jonson's is impossible: cf. the general discussion under PLAYERS.

Propertius. Sextus Aurelius Propertius was born in Umbria, about 50 B. C. He went early to Rome, but completed his studies at Athens. His poetic talent is said to have been awakened by the charming Hostia, who, under the name Cynthia, became the subject of his verse. Hostia herself was skilled in poetry as well as in music and dancing. It appears that Propertius was at length thrown over for a richer lover, and later Hostia died, but the poet seems never to have ceased to love her. Propertius has been censurd for harshness and obscurity of style, but real poetic inspiration has seldom been denied him, some critics placing him above Ovid and Tibullus in passion and imagination. Ovid mentions Propertius in Ars Am. 3. 333 and 536. His name does not occur in Horace, but some commentators have thought he was meant by 'Callimachus,' Epist. 2. 2. 100. As Propertius died about 16 B. C., Jonson takes liberties in making him present in Rome at the time of the events of Poetaster.

Pyrgus. We have Gr. Túpyos, a tower, in various senses, among which are 1) a movable tower for storming towns, 2) soldiers in close order, a column; while in Latin, the word means a wooden dice box shaped like a tower. Dr. Nicholson has the following note on the Pyrgi (Ben Jonson I. 263): 'Etymologically, engines used in sieges; hence applied to pages used by Tucca to carry out his designs.'

Albius Tibullus, a friend of Horace and Virgil, was born about 59 B. C. and seems to have died soon after the Mantuan, about 19 B. C. His Delia, whose real name was Plania, was of libertine blood. When Tibullus accompanied Messala into Aquitania, about 25 B. C., Delia seems to have been unfaithful to her poet lover. Cf. the sketch of PLAUTIA. Speaking of the elegiac poets, Ovid tells us (Trist. 4. 10) that the friendship of Tibullus was denied him because Tibullus was older. A tradition was formerly current that Ovid and Tibullus had been born on the same day, the idea having grown out of a distich, since proved spurious, in Tibullus, Eleg. 3. 5.

In connection with the Tibullus of Poetaster we have evidences of Mr. Fleay's versatility of conjecture. Hedon of Cynthia's Revels, Brisk of Every Man Out, and Hermogenes of Poetaster are identified (Chr. 1. 96-7) with Samuel Daniel. On page 368 of the same volume, however, Hermogenes is supposed to be John Daniel; while on page 367 we read, 'Tibullus and his Delia (Plautia) are, I suppose, Daniel and Elizabeth Carey.' In the last statement Daniel is Samuel Daniel, I take it. Now there is absolutely no proof that Tibullus and Plautia represent the poet Daniel and Elizabeth Carey. That Jonson had no love for Daniel is evident from the Conversations (p. 2): 'Samuel Daniel was a good man, had no children; but no poet.' 'Daniel was at jealousies with him' (p. 10). course of Poesie both against Campion and Daniel, especially this last' (pp. 1-2; cf. also p. 16). So much for Jonson's opinion of Daniel, with which contrast the respect he shows for Tibullus throughout the Poetaster. Tibullus is there the friend of Ovid, Virgil, and Horace himself, and it is Tibullus who, in act 5 sc. 3, is chiefly instrumental in confounding the poet-apes. Fleay himself would be the first to assert that if Jonson were drawing the portrait of Samuel Daniel, he would make it far less flattering1 than is that

'Said he had written a Dis

1For a discussion of the supposed satires of Daniel in Jonson's plays, see Fleay, Chr. 1. 86, 96, 271–2, 360 ff.; and Small, StageQuarrel 181-197. Small's work here, as elsewhere, is admirable.