sipy and inaccurate Aubrey relates that he was "a bold
impertinent fellow...a perpetual talker and made a noise like a
drum in a room. So one time at a tavern Sir Walter Raleigh beats
him and seals up his mouth (that is his upper and nether beard)
with hard wax. From him Ben Jonson takes his Carlo Buffone
['i.e.', jester] in "Every Man in His Humour" ['sic']." Is it
conceivable that after all Jonson was ridiculing Marston, and that
the point of the satire consisted in an intentional confusion of
"the grand scourge or second untruss" with "the scurrilous and
profane" Chester?

We have digressed into detail in this particular case to exemplify
the difficulties of criticism in its attempts to identify the
allusions in these forgotten quarrels. We are on sounder ground of
fact in recording other manifestations of Jonson's enmity. In "The
Case is Altered" there is clear ridicule in the character Antonio
Balladino of Anthony Munday, pageant-poet of the city, translator
of romances and playwright as well. In "Every Man in His Humour"
there is certainly a caricature of Samuel Daniel, accepted poet of
the court, sonneteer, and companion of men of fashion. These men
held recognised positions to which Jonson felt his talents better
entitled him; they were hence to him his natural enemies. It seems
almost certain that he pursued both in the personages of his satire
through "Every Man Out of His Humour," and "Cynthia's Revels,"
Daniel under the characters Fastidious Brisk and Hedon, Munday as
Puntarvolo and Amorphus; but in these last we venture on quagmire
once more. Jonson's literary rivalry of Daniel is traceable again
and again, in the entertainments that welcomed King James on his
way to London, in the masques at court, and in the pastoral drama.
As to Jonson's personal ambitions with respect to these two men, it
is notable that he became, not pageant-poet, but chronologer to the
City of London; and that, on the accession of the new king, he came
soon to triumph over Daniel as the accepted entertainer of royalty.

"Cynthia's Revels," the second "comical satire," was acted in 1600,
and, as a play, is even more lengthy, elaborate, and impossible
than "Every Man Out of His Humour." Here personal satire seems to
have absorbed everything, and while much of the caricature is
admirable, especially in the detail of witty and trenchantly
satirical dialogue, the central idea of a fountain of self-love is
not very well carrie