Part 15 (2/2)

When, in presence of Augustus, as well as of the high jurors Maecenas, Tibullus, and Virgil, the two poetasters have been heard; when Horace has forgiven Demetrius, [23] and Crispinus, under the sharp effects of the pill, has thrown up, amidst great pain, [24] the disgraceful words which he had used against Horace, he is dismissed by the latter with the admonition to observe, in future, a strict and wholesome diet; to take each morning something of Cato's principles; then taste a piece of Terence and suck his phrase; to shun Plautus and Ennius as meats too harsh for his weak stomach, and to read the best Greeks, 'but not without a tutor.'

This fits in with Shakspere's 'small Latin and less Greek'--a circ.u.mstance of which Jonson himself, in his poem in memory of Shakspere (1623), thought he should remind the coming generations.

It is, no doubt, a little revenge for the 'dark chamber' in which Malvolio [25] is imprisoned, that, after Horace has concluded his speech in which the study of Latin and Greek is recommended to Crispinus as something very necessary for him, Virgil should add the further advice:--

And for a week or two see him locked up In some dark place, removed from company; He will talk idly else after his physic.

The full name given by Jonson to Crispinus is--RUFUS LABERIUS CRISPINUS.

John Marston already, in 1598, designates Shakspere with the nickname '_Rufus_.' Everyone can convince himself of this by first reading Shakspere's 'Venus and Adonis,' and immediately afterwards John Marston's 'Metamorphosis of Pigmalion's Image.' [26] We do not know whether it has struck anyone as yet that this poem of Marston is a most evident satire, written even in the same metre as Shakspere's first, and at that time most popular, poem. [27] In his sixth satire of 'The Scourge of Villanie,' Marston explains why he had composed his 'Pigmalion's Image:'--

Yet deem'st that in sad seriousnesse I write such nasty stuff as in Pigmalion?

Such maggot-tainted, lewd corruption! ...

Hence, thou misjudging censor: know I wrot Those idle rimes to note the odious spot and blemish that deformes the lineaments of modern poesies habiliments.

At the end of his satire ('Pigmalion's Image'), Marston self-complacently tacks on a concluding piece: 'The Author in Praise of his Precedent Poem.' Whom else does he address there than him whose poetical manner he wished to mock--namely, Shakspere's--when he begins with these words:--

Now, Rufus! by old Glebron's fearfull mace, Hath not my Muse deserv'd a worthy place? ...

Is not my pen compleate? Are not my lines Right in the swaggering humour of these times?

The name of 'Rufus' has two peculiarities which may have induced Marston to confer it upon Shakspere. First of all, like the English king of that name, Shakspere's pre-name was William. Secondly, the best-preserved portrait of Shakspere shows him with hair verging upon a reddish hue.

But not only the colour of the hair, but also its thinness (according to all pictures and busts we have of Shakspere, he was bald-headed), seems to have been satirised by Jonson in his 'Poetaster.' In act ii.

sc. 1, Chloe asks Crispinus, who, excited by her love and her beauty, pretends becoming a poet, whether, as a poet, he would also change his hair? To which Crispinus replies, 'Why, a man may be a poet, and yet not change his hair.'

Now Dekker, in his 'Satiromastix, in which all personal insults are to be avenged [28](for which reason the chief personages of 'The Poetaster' are introduced under the same name), makes Horace give forth a long song in praise of 'heades thicke of hair,' whilst Crispinus gives another in honour of 'balde heads;' from which we conclude that Chloe's remark on Crispinus' hair has reference to a bald pate, but the name of 'Rufus'

to the colour of whatever hair there is.

'Rufus Laberius Crispinus' might truly be thus rendered: 'The red-haired SHAK-erius, with the crisp-head, who cribs like St. Crispin.' The word Rufus, as already explained, reminds us both of Shakspere's red hair and his pre-name 'William.' Laberius (from _labare_, to shake; hence Shak-erius, a similar nickname as Greene's SHAKE-_scene_) is clearly an indication of the poet's family name. The Roman custom of placing the name of the _gens_, or family, in the middle of a person's name, leaves no doubt as to Jonson's intention. Laberius was a dramatic poet, even as Shakspere. Laberius was an actor (Suet. c.i.

39). So was Shakspere. Laberius played in his own dramas. Shakspere did the same. Laberius' name corresponds etymologically, as regards meaning, to the root-syllable in Shakspere's name. Could Jonson, who was so well versed in cla.s.sics, have made his satirical allusion plainer or more poignant? In Crispinus, both Shakspere's curly hair and the offence of application, plagiarism, or literary theft, with which he is charged by his antagonist, are manifestly marked; St. Crispin being noted among the saints for his filching habits. He made shoes for the poor from materials stolen from the rich.

Crispinus approaches Horace quite as a 'Johannes Factotum,' as Greene had designated Shakspere in 1592. Jonson makes him a.s.sert that he, too, is a scholar, a writer conversant with every kind of poetry, and a Stoic. He also declares that he is studying architecture, and that, if he builds a house, [29] it must be similar to one before which they are standing.

In Dekker's 'Satiromastix,' Crispinus is described as being of a most gentle nature. This is in harmony with the well-known quality generally attributed to Shakspere. In the beginning of 'Satiromastix,' Crispinus approaches Horace for the object of peace and reconciliation. The latter excuses himself, in words similar to those of the 'Apologetical Dialogue,' that even if he should 'dip his pen in distilde Roses,'

or strove to drain out of his ink all gall, [30] yet his enemies would look at his writings 'with sharpe and searching eyes.' Nay--

When my lines are measur'd out as straight As even parallels, 'tis strange that still, Still some imagine they are drawne awry.

The error is not mine, but in their eye; That cannot take proportions.

_Crispinus_. Horrace, Horrace!

To stand within the shot of galling tongues, Proves not your gilt, for could we write on paper, Made of these turning leaves of heaven, the cloudes, Or speak with Angels tongues: yet wise men know, That some would shake the head, tho' saints should sing, Some snakes must hisse, because they're borne with stings.

_Horace_. 'T is true.

_Crispinus_. Doe we not see fooles laugh at heaven? and mocke The Makers workmans.h.i.+p?

Crispinus goes on telling Horace that none are safe from such calumnies; but that, if his 'dastard wit' will 'strike at men in corners,' if he will 'in riddles folde the vices' of his best friends, then he must expect also that they will 'take off all gilding from their pilles,'

and offer him 'the bitter coare' (core). [31] With great emphasis, Crispinus admonishes Horace not to swear that he did not intend whipping the private vices of his friends while his '_las.h.i.+ng jestes make all men bleed_.' Crispinus concludes his mild, conciliatory speech with the words:--

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