ty and trenchantly
satirical dialogue, the central idea of a fountain of self-love is
not very well carried out, and the persons revert at times to
abstractions, the action to allegory. It adds to our wonder that
this difficult drama should have been acted by the Children of
Queen Elizabeth's Chapel, among them Nathaniel Field with whom
Jonson read Horace and Martial, and whom he taught later how to
make plays. Another of these precocious 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
t