cious little actors was Salathiel Pavy, who died
before he was thirteen, already famed for taking the parts of old men.
Him Jonson immortalised in one of the sweetest of his epitaphs. An
interesting sidelight is this on the character of this redoubtable
and rugged satirist, that he should thus have befriended and tenderly
remembered these little theatrical waifs, some of whom (as we know) had
been literally kidnapped to be pressed into the service of the theatre
and whipped to the conning of their difficult parts. To the caricature
of Daniel and Munday in "Cynthia's Revels" must be added Anaides
(impudence), here assuredly Marston, and Asotus (the prodigal),
interpreted as Lodge or, more perilously, Raleigh. Crites, like
Asper-Macilente in "Every Man Out of His Humour," is Jonson's
self-complaisant portrait of himself, the just, wholly admirable, and
judicious scholar, holding his head high above the pack of the yelping
curs of envy and detraction, but careless of their puny attacks on his
perfections with only too mindful a neglect.

The third and last of the "comical satires" is "Poetaster," acted, once
more, by the Children of the Chapel in 1601, and Jonson's only avowed
contribution to the fray. According to the author's own account, this
play was written in fifteen weeks on a report that his enemies had
entrusted to Dekker the preparation of "Satiromastix, the Untrussing of
the Humorous Poet," a dramatic attack upon himself. In this attempt to
forestall his enemies Jonson succeeded, and "Poetaster" was an immediate
and deserved success. While hardly more closely knit in structure than
its earlier companion pieces, "Poetaster" is planned to lead up to
the ludicrous final scene in which, after a device borrowed from the
"Lexiphanes" of Lucian, the offending poetaster, Marston-Crispinus, is
made to throw up the difficult words with which he had overburdened his
stomach as well as overlarded his vocabulary. In the end Crispinus with
his fellow, Dekker-Demetrius, is bound over to keep the peace and never
thenceforward "malign, traduce, or detract the person or writings of
Quintus Horatius Flaccus [Jonson] or any other eminent man transcending
you in merit." One of the most diverting personages in Jonson's comedy
is Captain Tucca. "His peculiarity" has been well described by Ward as
"a buoyant blackguardism which recovers itself instantaneously from the
most complete exposure, and a picturesqueness of speech like that of