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His ruffe did eate more time in neatest setting,
Than Woodstock-worke in painfull perfecting.

The comparison of the workmanship of a laced and plaited ruff, to the laboured nicety of the steel-work of Woodstock, is just. He adds, with an appearance of wit,

It hath more doubles farre than Ajax shield.

This was no exaggeration. The shield of Ajax was only sevenfold. Tô say nothing of one of the leading ideas, the delicacy of contexture, which could not belong to such a shield.

But Marston is much better known as a satirist by a larger and a separate collection, yet entirely in the strain of the last, called the SCOURGE OF VILLANY, published the same year. I will give the title exactly and at length. "The SCOVRGE OF VILLANIE. Three Bookes of SATYRES. [No Name of the Author.]-Nec scombros metuentia carmina nec thus. At London, Printed by I. R. [James Roberts,] and are to be sold by John Buzbie, in Pawles churchyard, at the signe of the Crane, 1598." He here assumes the appellation of KINSAYDER, by which he is recognised among other cotemporary poets in the RETURN FROM PARNASSUS. In his metrical introduction, he wishes all readers of fashion would pass over his poetry, and rather examine the play-bills pasted on every post, or buy some ballad about the fairy king, and king Cophetua and the female beggar. Instead of a Muse, he invocates REPROOF, in this elegant and animated address.

I inuocate no Delian deitie,

Nor sacred offspring of Mnemosyne:
pray in aid of no Castalian Muse,

No Nymph, no female angell, to infuse
A sprightly wit to raise my flagging wings,

And teach me tune these harsh discordant strings.

I craue no Syrens of our halcyon-times,

Το grace the accents of my rough-hew'd rimes:
But grim Reproofe, sterne Hate of villany,

Inspire and guide a satyr's poesie!

Faire Detestation of fowle odious sinne,
In which our swinish times lie wallowing,
Be thou my conduct and my Genius,
My wit's inticing sweet-breath'd Zephirus!

In duodecimo. With vignettes. Wh. lett. The signatures run inclusively to Sign. I. 3. The title of the second edition is "The Scourge of Villanie. By John Marston. Nec scombos, &c. At London. Printed by I. R. Anno Dom. 1599." The tenth Satire is not in the former edition. All Marston's Satires,

with other pieces of old poetry, were reprinted, Lond. for R. Horsfield, 1764,

12mo.

[This reprint was edited by the Rev. J. Bowles, known to the literary world by his edition of Don Quixote in the Spanish language.-PARK.]

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Some floodgate vp, to purge the world from muck!
Would god, I could turne Alpheus' riuer in,

To purge this Augean stable from fowle sinne!
Well, I will try.-Awake, Impuritie!

And view the vaile drawne from thy villanie.'

The passage reminds us of a witty line in Young's UNIVERSAL PASSION, I know not if borrowed from hence.

And cleanse the Augean stable with thy quillm.

Part of the following nervous paragraph has been copied either by Dryden or Oldham.

Who would not shake a satyr's knotty rod,
When to defile the sacred name of god,
Is but accounted gentlemen's disport?
To snort in filth, each hower to resort
To brothell-pits: alas, a veniall crime,
Nay royal, to be last in thirtieth slime?n

In an invocation to RIME, while he is not inelegantly illustrating the pleasingness of an easy association of consonant syllables, he artfully intermixes the severities of satire.

Come prettie pleasing symphonie of words,

Ye well-match'd twins, whose like-tun'd tongue affords
Such musicall delight, come willingly,

And daunce Levoltos° in my poesie!

Come all as easie as spruce Curio will,

In some court-hall to shew his capering skill:-
As willingly as wenches trip around,

About a may-pole, to the bagpipe's sound.-
Let not my ruder hand

Seeme once to force you in my lines to stand:
Be not so fearefull, prettie soules, to meete,
As Flaccus is, the sergeant's face to greete:
Be not so backward-loth to grace my sense,
As Drusus is, to haue intelligence,

His dad's aliue: but come into my head,
As iocundly, as, when his wife was dead,

Young Lelius to his home. Come, like-fac'd Rime,
In tunefull numbers keeping musick's time!

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But if you hang an arse like Tubered,

When Chremes drag'd him from the brothel-bed,
Then hence, base ballad-stuffe! My poesie

Disclaimes you quite. For know, my libertie
Scornes riming lawes. Alas, poore idle sounde!
Since first I Phebus knew, I neuer found
Thy interest in sacred poetry:

Thou to Inuention addst but surquedry P,

A gaudie ornature: but hast no part
In that soule-pleasing high-infused art.9

He thus wages war with his brother-bards, especially the dreamers in fairy land.

Here's one must inuocate some loose-leg'd dame,
Some brothel-drab, to help him stanzas frame.
Another yet dares tremblingly come out,

But first he must inuoke good COLIN CLOUT'.
Yon's one hath yean'd a fearefull prodigy,
Some monstrous and mishapen balladry ".-
Another walkes, is lazie, lies him downe,

Thinkes, reades: at length, some wonted slepe doth crowne
His new-falne lids, dreames: straight, ten pounds to one,
Out steps some Fayery with quick motion,

And tells him wonders of some flowery vale;

He wakes, he rubs his eyes, and prints his tale.*

The following line is a ridicule on the poetical language of his time, which seems rather intended for certain strains of modern poetry.

Thou nursing mother of faire wisdom's lore,
Ingenuous Melancholy! V

He supposes himself talking with Esop, and alludes to the story of his coming into the streets of Athens to look for a man". This idea introduces several ridiculous characters. Among the rest a fine lady.

Peace, cynicke, see what yonder doth approach,
"A cart, a tumbrell?" No, a badged coach".

pride, false pomp.

9 B. ii. Ad rithmum.

Spenser as a pastoral writer.

An allusion to some late Ballad, with a print, of a monster, or incredible event. A ballad-monger is a character in "Whimzies, or a Newe Cast of Characters," where says the writer, For want of truer relations, for a neede, he can finde you out a Sussex-dragon, some sea or inland monster," &c. Lond. 1631. Char. ii. p. 9. For

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"What's in 't? Some Man." No, nor yet woman kinde,

But a celestiall angell, faire refinde.

"The divell as soone. Her maske so hinders me,

I cannot see her beautie's deitie.

Now that is off, she is so vizarded,

So steep'd in lemon-iuice, so surphuled,
I cannot see her face. Under one hood
Two faces: but I neuer understood,

Or sawe one face under two hoods till nowe.
Away, away! Hence, coachman, go inshrine
Thy new glaz'd puppet in port Esquiline"."

* The word is often used by Hall and Marston. Our author supposes, that the practice came with other corruptions from Venice. Cert. Sat. 2.

Didst thou to Venis goe aught els to haue But buy a lute, and vse a curtezan?And nowe from thence what hether dost thou bring,

But SURPHULINGS, new paints and pcysoning,

Aretine's pictures, &c.

I find the word used for a meretricious styptic lotion. "The mother baud hauing at home, a well-paynted manerly harlot, as good a maid as Fletcher's mare, that bare three great foles, went in the morning to the apothecaries for halfe a pint of swete water, that commonly is called SURFULYNG water, or Clynckerdeuice," &c. From "A manifest DETECTION of the most vyle and detestable vse of DICE PLAY, &c. Imprinted at London in Paules churchyard, at the signe of the Lambe, by Abraham Vele." No date; but early in the reign of Elizabeth. Bl. lett. 12mo. "Apothecaries would have SURPHALING water, and potatoe rootes, lie dead on their hands.-The suburbes should have a great misse of vs, and Shoreditch would complaine to dame Anne a Clear," &c. Theeves falling out, True men come by their goods. By R. G. Lond. 1615. 4to. Signat. C. 3. Bl. lett. See Steevens's Shaksp. ix. 168.

y B. ii. 7. The classical reader recollects the meaning of this allusion to the Porta Esquilina at Rome. In passing, I will illustrate a few passages in Marston's satires.

Lib. iii. 11. He says, Praise but ORCHESTRA, and the skipping

art.

This is an allusion to sir John Davies's Orchestra, a poetical dialogue between Penelope and one of her wooers, on the antiquity and excellency of Dancing,

printed with his Nosce Teipsum in 1599. This piece occasioned a humorous epigram from Harrington, Epigr. B. ii. 67.

A few lines afterwards Marston says, Roome for the spheres, the orbes celestiall

Will daunce KEMP'S IIGGE.

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Of Kemp, the original performer of Dogberry, I have spoken before. I find, entered to T. Gosson, Dec. 28, 1591, The third and last part of " Kempe's ligge.' Registr. Station. B. f. 282 b. And May 2, 1595, to W. Blackwell, "A ballad of Mr. Kempe's Newe ligge of the kitchen stuffe woman. Ibid. f. 132 a. Again, Octob. 21, 1595, to T. Gosson, Kempe's Newe ligge betwixt a soldier and a miser. Ibid. f. 3 b. In Kemp's Nine Daies Wonder, printed in 1600, is the character of an innkeeper at Rockland, which could not be written by Kemp, and was most probably a contribution from his friend and fellow-player, Shakspeare. He may vie with our host of the Tabard. Signat. B. 3.

He was a man not ouer spare,
In his eybals dwelt no care:
Anon, Anon, and Coming, friend,
Were the most words he vsde to spend :
Saue, sometime he would sit and tell
What wonders once in Bullayne fell;
Closing each period of his tale
With a full cup of nut-browne ale.
Turwyn and Turney's siedge were hot,
Yet all my hoast remembers not:
Kets field, and Musseleborough fray,
Were battles fought but yesterday.
"O, 'twas a goodly matter then,
To see your sword and buckler men!
They would lay here, and here and there,
But I would meet them every where,"
&c.

By this some guest cryes, Ho, the house!
A fresh friend hath a fresh carouse.
Still will he drink, and still be dry,
And quaffe with euerey company.

He thus nervously describes the strength of custom:

For ingrain'd habits, died with often dips,
Young slips

Are not so soon discoloured.

Saint Martin send him merry mates
To enter at his hostry gates!
For a blither lad than he
Cannot an Innkeeper be.

In the same strain, is a description of a plump country lass, who officiates to Kemp in his morris-dance, as his Maid Marian. Signat. B. 3. Jonson alludes to Kemp's performance of this morrisdance, from London to Norwich in nine dayes. Epigr. cxxxiv.

or which

Did dance the famous morrisse vnto Norwich.

But to return to Marston.

In the Preface called In lectores prorsus indignos, is the word "Proface." I do not recollect that the passage has been adduced by the late editors of Shakspeare. Vol. v. p. 595. edit. 1778.

Proface, read on, for your extreamst

dislikes

Will add a pinion to my praises flights. In the Guls Horne Booke, 1609, p. 4. "Comus, thou clarke of Gluttonie's kitchen, doe thou also bid me PROFACE." In the same author's Belman of London, 1608, the second edition, Bl. lett. 4to. "The table being thus furnished, instead of Grace, everie one drewe out a knife, rapt out a round oath, and cried, PROFACE, you mad rogves," &c. Signat. C. See also Taylor's Sculler, Epigr. 43. These instances may be added, to those which Farmer, Steevens, and Malone have collected on the word. The meaning is obvious, "Fall on-Much good may it do you."

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In Dekker's Iests to make you merie, 1607. Jest 59. "Sixpenny signets that lay in the Spittle in Shoreditch." In Middleton's Inner Temple Masque, printed 1619,

'Tis in your charge to pull down bawdy houses.

Cause spoile Shoreditch,

And deface Turnbull [street.]—

And in the Preface to "The Letting of Humours blood in the head vaine," or Satires, 1600, Signat. A. 2.

Some coward gull That is but champion to a Shoreditch drab.

I know not whether it will illustrate the antiquity of the Ballad of George Barnwell to observe, that the house of the Harlot, the beroine of the story, is in Shoreditch. The Curtaine, one of our old theatres, was in Shoreditch.

B. ii. Proem. st. 3.

With tricksey tales of speaking Cornish dawes.

Tricksey, I think, is an epithet of Ariel in the Tempest. A tricksie strain occurs,

B. iii. 9.

Ibid. st. 4.

What though some John a stile will basely toile.

This is the first use I remember of John a Stiles. But we have below, B. ii. 7. Looke you, comes John a noke, and John a stile.

He means two lawyers.

B. ii. 7. Of a gallant,

Note his French herring-bones,

His band-strings. Wood says, that Dr. Owen, dean of Christ church, and Cromwell's vice-chancellor at Oxford, in 1652, used to go, in contempt of form, "like. a young scholar, with powdred hair, smakebone bandstrings, or bandstrings with very large tassells, lawn band, a large set of ribbands, pointed, at his knees, and Spa nish-lather boots with large lawn tops, and his hat mostly cocked." Athen. Oxon. ii. 738. Num. 572.

B. ii. 7. He is speaking of a Judge, in his furred damaske-coate.

He's nought but budge,

That is, fur. So Milton in Comus, v. 707. Those budge doctors of the stoick fur.

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