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slotte where the Deare taketh soyle. If this were as well noted, as ill seene: or as openly punished, as secretly practised: I haue no doubte but the cause would be feared to dry vp the effect, and these prettie Rabbets very cunningly ferretted from their borrowes. For they that lack Customers al the weeke, either because their haunte is vnknowen, or the Constables and Officers of their Parishe, watch them so narrowly, that they dare not queatche; to celebrate the Sabboth, flock to Theaters, and there keepe a generall Market of Bawdrie: Not that any filthynesse in deede, is committed within the compasse of that grounde, as was doone in Rome, but that euery wanton and his Paramour, euery man and his Mistresse, euery John and his Joan, euery knaue and his queane, are then first acquainted and cheapen the Merchandise in that place, which they pay for elsewhere as they can agree. These wormes when they dare not nestle in the Pescod at home, finde refuge abrode and are hidde in the eares of other mens Corne.'

3. 4. 212. You'll bring me o' the stage there. Cf. Tucca to Horace in Satiromastix, p. 235: 'Thou'lt shoote thy quilles at mee, when my terrible backe's turn'd for all this, wilt not Porcupine? and bring me & my Heliconistes into thy Dialogues to make vs talke madlie, wut not Lucian?'

3. 4. 214. The copper-lac't scoundrels are of course actors. Note the following items from the inventory of the Admiral's men, 13 March 1598 (Henslowe's Diary 274-6):

'Item, j payer of whitte saten Venesons cut with coper lace.

Item, Tamberlynes cotte, with coper lace.

Item, j read clock with white coper lace.

Item, j read clocke, with read coper lace.'

3. 4. 215-7. Your mansions . . . Triumphs. With reference to this passage Fleay (Chr. 1. 368) speaks of 'the round theatres (globes) on the Bankside, who enact Triumphs (pageants.)' His opinion evidently is that Triumphs means plays or pageantry. But it seems clear that Globes and Triumphs taken together mean simply the playhouses generally, though Globes also has direct reference to the famous theatre where the Chamberlain's men are about to produce Satiromastix.

The Globe was on the Bankside in Southwark. It had been erected in 1599 by Richard Burbage out of the materials of The Theatre in Shoreditch. The structure was round, made chiefly of wood, and partially roofed with thatch. The pit was open to the sky, and it has therefore been spoken of as a 'summer theatre,' though HalliwellPhillipps (Life of Sh., 1886, 1. 167) mentions a performance in February. At the Globe were the Lord Chamberlain's Servants, of which company Shakespeare was a member. Halliwell-Phillipps

speaks of Every Man out of his Humour as one of the first plays presented in the old Globe (see Epilogue, ed. 1600), where were also given Romeo and Juliet, Richard II, Lear, Troilus and Cressida, Pericles, Othello, Macbeth, and Winter's Tale (ibid. 165). A letter of Sir Henry Wotton to Sir Edmund Bacon, dated July 2, 1613 (cf. Wheatley and Cunningham, London, 2. 116), informs us of the burning of the Globe three days previously. The thatch caught fire during the presentation of a play, and the building was burned to the ground (cf. Jonson, An Execration upon Vulcan). The Globe was immediately rebuilt in a style to surpass all other playhouses. A clear idea of the structure of the old Globe may be obtained from the contract (cf. note 3. 4. 135-6) for the Fortune theatre, modelled upon it. The following facts are from WC. London 2. 117-8: 'The theatre was distinguished by a figure of Hercules supporting the Globe, under which was written, Totus Mundus agit Histrionem. During the hours of performance a flag, with the cross of St. George upon it, was unfurled from the roof. This celebrated theatre [rebuilt 1613] was "pulled doune to the ground by Sir Matthew Brand, on Monday, April 15, 1644, to make tenements in the room of it."'

3. 4. 220-1. Reach mee thy neufe. Give me your fist. Cf. Mids. Night's Dream 4. 1. 20; 2 Henry IV. 2. 4. 200.

3. 4. 222. Beagles. The beagle was a hound that tracked game by the scent. The name was often applied to spies, informers, and sheriff's officers (cf. Timon of Athens 4. 3. 176).

3. 4. 223. Point-trussers. Points were laces or ties, with metal tags at the ends, used in the 16th and 17th centuries to fasten clothes together. They were about eight inches long, made of twisted yarn, of silk, or of leather. The iron or silver tags, called aglets or aiguillettes, were sometimes formed into little images (cf. Shrew 1. 2. 79). The hose were fastened to the doublets by points. To truss was to adjust and tie the points (cf. I Henry IV. 2. 4. 238-9).

3. 4. 226. O dolefull dayes!

'I suspect that Shakespeare (First Part of Henry IV.) [2. 4. 423-5] confounded king Cambyses, with this king Darius. Falstaff's solemn fustian bears not the slightest resemblance, either in metre, or in matter, to the vein of king Cambyses. Kyng Daryus, whose "doleful strain" is here burlesqued, was a pithie and pleasaunt Enterlude, printed about the middle of the sixteenth century.' (G.)

Gifford here refers to: 1) 'A lamentable tragedy mixed ful of pleasant mirth, conteyning the life of Cambises king of Percia, etc.' by Thomas Preston, London, ?1570; and 2) 'A Prettie new Enterlude, Both Pithie and Pleasaunt, of the Story of Kyng Daryus; now first reprinted from the original edition issued in 1565. Edited

by James O. Halliwell, Esq., F.R.S. London: Printed by Thomas Richards, 37, Great Queen Street. 1860.' The curious thing is that, however little Falstaff may be indebted to King Cambyses, Pyrgus of Poetaster owes no debt whatever to the Kyng Daryus cited by Gifford, nor, indeed, to any other King Darius extant. The subjoined title-page of the old Daryus will show the character of that play, and the improbability of its containing such a passage as Poetaster 3. 4. 226–9:

A PRETIE NEW ENTERLUDE | Both pithie and pleasaunt of the story of Kyng Daryus, being taken out of the third and fourth chapter of the thyrd booke of Esdras. |

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Imprinted at London in Flete Streat beneath the | Conduite, at the sygne of S. John Euangelist | by Thomas Colwell. | Anno Domini. M DLX V. | In October. |

This 'pithie and pleasaunt' interlude is the dryest, dullest sort of religious play-not at all in 'king DARIVS dolefull straine.' Nearly the whole play is taken up with tedious dialogue between the various allegorical figures, of which the Vice, Iniquytie, is most in evidence. Daryus figures only as giving a meal to the kings of Aethyopia, Persya, and Juda, and as presiding over an argument of Stipator primus, Stipator secundus, and Zorobabell as to which is the strongest thing in the world-wine, the king, or woman. Daryus does not even decide the controversy, but delegates that function to Anagnostes and Optimates. The award is given to Zorobabell who has argued for the power of woman. Zorobabell requires of the king as a reward the rebuilding of Jerusalem. Gifford is therefore wholly wrong in referring to this particular play of Kyng Daryus as the source of the present passage.

Another Darius, which, however, Fleay (Chr. 1. 24) believes was never acted, is somewhat in our doleful strain. 'The Tragedie of Darius. By William Alexander, of Menstrie. Edinburgh: Printed by Robert Waldegrave, Printer to the Kings Maiestię, 1603,' 4to. (see D.N.B.). Republished: 'Recreations with the Muses: By William Earle of Sterline. London, Printed by Tho. Harper. 1637.'

An immediate source for this first speech of Pyrgus is, then, unknown to me. Perhaps it is only a parody on bombastic tragedy in general, written by Jonson for the occasion.

3. 4. 231-8. From the Spanish Tragedy (then usually called Hieronimo), by Thomas Kyd, 1585-7 (cf. Kyd's Works, ed. Boas, Introd.), 2. 1. 9-28, beginning:

Bal. No, she is wilder, and more hard withall,

Then beast, or bird, or tree, or stony wall.

Jonson has selected certain lines of Balthazar's speech, rearranging them thus: 9, 10, 25, 26, 21, 22, 27, 28. Barring slight differences in spelling and punctuation, Kyd's words are faithfully reproduced, except that Balthazar begins with No, and Pyrgus with O. W. C. Hazlitt (Dodsley 5. 36) and Boas (Kyd's Works 398) have noted that Kyd's source for this speech is Thomas Watson's Hekatompathia, c. 1582 (repr. Spenser Soc. 1869), sonnet 47. Boas adds that Watson drew from Serafino, sonnet 103.

Jonson ridicules Hieronimo in Every Man In 1. 4; C. Revels, Induction; Barth. Fair, Induction, as well as here. Yet pp. 201 and 223 of Henslowe's Diary record payments to Jonson himself for two sets of additions to Kyd's play. The passage of the Spanish Tragedy here chosen is also pleasantly satirized by Nathaniel Field, formerly Jonson's pupil and one of the boy-actors in Poetaster, in A Woman is a Weathercock, 1612, 2. 1 (Hazlitt's Dodsley II. 28-29):

Sir Abraham. O no, she laughs at me and scorns my suit:
For she is wilder and more hard withal,

Than beast or bird, or tree, or stony wall.

Kate. Ha! God-a-mercy, old Hieronimo.

Abra. Yet might she love me for my lovely eyes.

Count Frederick. Ay, but perhaps your nose she doth despise.
Abra. Yet might she love me for my dimpled chin.
Pendant. Ay, but she sees your beard is very thin.

Abra.

Yet might she love me for my proper body.

Strange. Ay, but she thinks you are an errant noddy.

Abra. Yet might she love me, 'cause I am an heir.

Sir John Worldly. Ay, but perhaps she doth not like your ware.
Abra. Yet might she love me in despite of all.

Lucida.

Ay, but indeed I cannot love at all.

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3. 4. 245. The Ghost. Gifford cites a Warning for Fair Women [1599; Induction 47-50]:

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Which passage, he says, is drawn, like Jonson's, from the speech of the ghost of Albanactus in the tragedy of Locrine [1595]. This absurd piece of fustian [i. e. Locrine] seems to have shared with Jeronimo (to which it is infinitely inferior) the ridicule of the wits of James's days: allusions to it frequently occur, and particularly to the "whining of this filthie ghost." Thus Fletcher: "In despite of thee, my master, and thy master, the grand devil himself, Vindicta! Vindicta!" Fair Maid of the Inn. [3. 1, Clown log.] and Crispinus [i. e. Marston] himself, [in] Antonio's Revenge.' (G.)

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In a Supplement to the Plays of William Shakspeare, ed. Simms, is included: The Lamentable Tragedie of Locrine, the eldest Sonne of King Brutus, &c. by W. S., London, 1595. Gifford referred probably to the following passages:

Humber. Is't not enough to suffer shameful flight,

Ghost.

But we must be tormented now with ghosts-
With apparitions fearful to behold?

Revenge, revenge for blood!

Hum. So, naught will satisfy you, wandering ghost,
But dire revenge;

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The boisterous Boreas thund'reth forth revenge:
The stony rocks cry out for sharp revenge:

The thorny bush pronounceth dire revenge! (5. 5.)

Locrine, once held to be a youthful work of Shakespeare, is something more than an 'absurd piece of fustian.' While crude, and containing rugged lines and grotesque figures, it yet has energy, passion, seriousness, with many musical phrasings and poetic images. The attraction of the Locrine story for Milton is well known, and it is interesting to notice occasional suggestions of Milton in the old play. Cf. 5. 6, Sabren loq.:

Ye Dryades and lightfoot Satyri

Ye gracious fairies, who, at eventide,

Your closets leave with heavenly beauty stored,
And on your shoulders spread your golden locks-
Ye savage bears in caves and darkened dens-
Come, wail with me the martial Locrine's death;
Come, mourn with me for beauteous Estrild's death!

And with the following, compare the figure in Lycidas:

Sabren. Hard-hearted Death, that, when the wretched call,
Art farthest off, and seldom hear'st at all,
But in the midst of Fortune's good success,
Uncalled comes, and shears our life in twain!
When will that hour, that blessed hour, draw nigh,
When poor, distressed Sabren may be gone?—

Sweet Atropos, cut off my fatal thread!

What art thou, Death?-Shall not poor Sabren die?

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