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abuse covertly leveled by the actors of the "Curtain" at gentlemen "of good desert and quality," and directed the magistrates to examine all plays before they were produced.

      Jonson, himself, finally made apologies in verses appended to printed copies of the "Poetaster."

      "Now for the players 'tis true I tax'd them

       And yet but some, and those so sparingly

       As all the rest might have sat still unquestioned,

       Had they but had the wit or conscience

       To think well of themselves. But impotent they

       Thought each man's vice belonged to their whole tribe;

       And much good do it them. What they have done against me

       I am not moved with, if it gave them meat

       Or got them clothes, 'tis well: that was their end,

       Only amongst them I was sorry for

       Some better natures by the rest so drawn

       To run in that vile line."

      Sidney Lee cleverly deduces Shakespeare's attitude in the quarrel in allusions to it in "Hamlet," wherein he "protested against the abusive comments on the men-actors of 'the common' stages or public theaters which were put into the children's mouths. Rosencrantz declared that the children 'so berattle47 [i.e. assail] the common stages—so they call them—that many wearing rapiers are afraid of goose-quills, and dare scarce come thither [i.e. to the public theaters].' Hamlet in pursuit of the theme pointed out that the writers who encouraged the vogue of the 'child actors' did them a poor service, because when the boys should reach men's estate they would run the risk, if they continued on the stage, of the same insults and neglect which now threatened their seniors.

      "'Hamlet. What are they children? Who maintains 'em? How are they escorted [i.e. paid]? Will they pursue the quality [i.e. the actor's profession] no longer than they can sing? Will they not say afterwards, if they should grow themselves to common players—as it is most like, if their means are no better—their writers do them wrong to make them exclaim against their own succession?

      "'Rosencrantz. Faith, there has been much to do on both sides, and the nation holds it no sin to tarre [i.e. incite] them to controversy; there was for a while no money bid for argument, unless the poet and the player went to cuffs in the question.'"

      This certainly does not reflect a very belligerent attitude since it merely puts in a word for the grown-up actors rather than48 casting any slurs upon the children. Further indications of Shakespeare's mildness in regard to the whole matter are given in the Prologue to "Troylus and Cressida," where, as Mr. Lee says, he made specific reference to the strife between Ben Jonson and the players in the lines

      "And hither am I come

       A Prologue arm'd, but not in confidence,

       Of Authors' pen, or Actors' voyce."

      The most interesting bit of evidence to show that Shakespeare and Jonson remained friends, even in the heat of the conflict, may be gained from the "Poetaster" itself if we admit that the Virgil of the play, who is chosen peacemaker stands for Shakespeare; and who so fit to be peacemaker as Shakespeare for his amiable qualities seem to have impressed themselves upon all who knew him.

      Following Mr. Lee's lead, "Jonson figures personally in the 'Poetaster' under the name of Horace. Episodically Horace and his friends, Tibullus and Gallus, eulogize the work and genius of another character, Virgil, in terms so closely resembling those which Jonson is known to have applied to Shakespeare that they may be regarded as intended to apply to him (Act V, Scene I). Jonson points49 out that Virgil, by his penetrating intuition, achieved the great effects which others laboriously sought to reach through rules of art.

      'His learning labors not the school-like gloss

       That most consists of echoing words and terms …

       Nor any long or far-fetched circumstance—

       Wrapt in the curious generalities of arts—

       But a direct and analytic sum

       Of all the worth and first effects of art.

       And for his poesy, 'tis so rammed with life

       That it shall gather strength of life with being,

       And live hereafter, more admired than now.'

      Tibullus gives Virgil equal credit for having in his writings touched with telling truth upon every vicissitude of human existence:

      'That which he hath writ

       Is with such judgment labored and distilled

       Through all the needful uses of our lives

       That, could a man remember but his lines,

       He should not touch at any serious point

       But he might breathe his spirit out of him.'

      "Finally, Virgil in the play is nominated by Cæsar to act as judge between Horace and his libellers, and he advises the administration of purging pills to the offenders."

      This neat little chain of evidence would have no weak link, if it were not for a passage in the play, "The Return from Parnassus,"50 acted by the students in St. John's College the same year, 1601. In this there is a dialogue between Shakespeare's fellow-actors, Burbage and Kempe. Speaking of the University dramatists, Kempe says:

      "Why here's our fellow Shakespeare puts them all down; aye, and Ben Jonson, too. O! that Ben Jonson is a pestilent fellow. He brought up Horace, giving the poets a pill; but our fellow Shakespeare hath given him a purge that made him bewray his credit." Burbage continues, "He is a shrewd fellow indeed." This has, of course, been taken to mean that Shakespeare was actively against Jonson in the Dramatists' and Actors' war. But as everything else points, as we have seen, to the contrary, one accepts gladly the loophole of escape offered by Mr. Lee. "The words quoted from 'The Return from Parnassus' hardly admit of a literal interpretation. Probably the 'purge' that Shakespeare was alleged by the author of 'The Return from Parnassus' to have given Jonson meant no more than that Shakespeare had signally outstripped Jonson in popular esteem." That this was an actual fact is proved by the lines of Leonard Digges, an admiring contemporary of Shakespeare's, printed in the 1640 edition of Shakespeare's poems, com51paring "Julius Cæsar" and Jonson's play "Cataline:"

      "So have I seen when Cæsar would appear,

       And on the stage at half-sword parley were

       Brutus and Cassius—oh, how the audience

       Were ravish'd, with what wonder they went thence;

       When some new day they would not brook a line

       Of tedious, though well-labored, Cataline."

      This reminds one of the famous witticism attributed to Eudymion Porter that "Shakespeare was sent from Heaven and Ben from College."

      If Jonson's criticisms of Shakespeare's work were sometime not wholly appreciative, the fact may be set down to the distinction between the two here so humorously indicated. "A Winter's Tale" and the "Tempest" both called forth some sarcasms from Jonson, the first for its error about the Coast of Bohemia which Shakespeare borrowed from Greene. Jonson wrote in the Induction to "Bartholemew Fair;" "If there be never a servant-monster in the Fair, who can help it he says? Nor a nest of Antics. He is loth to make nature afraid in his plays like those that beget Tales, Tempests, and such like Drolleries." The allusions here are very evidently to Caliban and the satyrs who figure in52 the sheep-shearing feast in "A Winter's Tale." The worst blast of all, however, occurs in Jonson's "Timber," but the blows are evidently given with a loving hand. He writes "I remember, the players have often mentioned it as an honor to Shakespeare that, in his writing, whatsoever he penn'd, hee never blotted out line. My answer hath beene, would he had blotted a thousand;—which they thought a malevolent speech. I had not told posterity this, but for their ignorance who choose that circumstance to commend their friend by wherein he most faulted; and to justifie mine owne candor—for I lov'd the man, and doe

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