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hominibus opus est'. Harpax, who speaks this line, has declared a little earlier that the men alluded to were out of their senses.

5.5.38. They are not borne euerie yeere, as an Alderman. There goes more to the making of a good Poet, then a Sheriffe. Whalley comments as follows upon this passage: 'Among plain citizens, this might be thought a reflection upon men of gravity and worship; and Mr. Kitely seemed to take it so : but the merry justice thought no harm, when he thus gave us the sense of the old Latin verses:

Consules fiunt quotannis, & proconsules :

Solus poeta non quotannis nascitur;

which Taylor, the water Poet, has paraphrased with much greater honour to the bard;

When heav'n intends to do some mighty thing,
He makes a poet, or at least a King.'

Gifford criticizes Whalley sharply for the inaccuracy of his quotation. The water poet seems to have found a more correct copy of "the old Latin verses" than the commentator. who has jumbled them out of all order.

Consules fiunt quotannis, et novi proconsules,

Solus aut Rex aut Poeta non quotannis nascitur.

They are usually attributed to one Florus.' Tennant (ed. New Inn, p. 291) locates the verses in Poet. Lat. Min., ed. Wernsdorf 3. 488 (= Anthol. Lat. I. 252, p. 170). These lines close a poem by Florus called De Qualitate Vitae.

Jonson quotes the second line directly in Discoveries (Wks. 9. 152) And hence it is that the coming up of good poets is so thin and rare among us. Every beggarly corporation affords the State a mayor or two bailiffs yearly; but Solus rex, aut poeta, non quotannis nascitur.' Tennant points out (p. 292) that Schelling, missing the notes of Whalley and Gifford, says (ed. Discoveries, p. 151): 'Petron[ii] in Fragm [enta] is the marginal note of the folio. I do not find this quotation in the Fragments or in the Satyricon.' Cf. the close of the Epilogue of New Inn, p. 412:

But mayors and shrieves may yearly fill the stage:
A king's, or poet's birth doth ask an age.

Cf. also the epigram to Sir Philip Sidney's daughter (Wks. 8, p. 186).

That poets are far rarer births than kings,
Your noblest father proved.

See N. & Q. (10. 2. 388; 10. 3. 433; 10. 4. 35) for notes upon the proverbial expression 'Poeta nascitur, non fit.'

Q5. 1. 553. Who list to leade and a souldiers life. Cf. note on Q 5. I. 425. This may have been a popular song of the day.

5.5.51. picture o' the Poet. Cf. 5. 2. 28, and note.

5.5 51. I will not ha' you hang'd, etc. Cf. Q. Fasting without in the court is a considerably lighter sentence than spending the night in the cage and being bound to the market

cross.

Q5. 1. 570. Wel brother Prospero, etc. The texts do not come together again until Q 1. 606, F 1. 79. Clement's speech (71 ff.), with its good advice to all the characters, is worth much more than all the quibbling over horns and the fun thrust at Biancha in Q.

5.5.79. See, what a droue of hornes flye, in the ayre, etc. I am unable to find this verse 'out of a iealous mans part in a play.' Cf. note on Q 5. I. 396.

Q5. 1. 640. Claudite iam riuos pueri sat prata biberunt. This is the closing line of Virgil's third eclogue. The eclogue has consisted in a poetic debate to decide superiority in versemaking. Two interpretations are placed upon the line; the first, a literal one, makes them refer to the sluices which have been opened to irrigate the meadows; the other, an allegorical one, has them allude to the rills of song which are to be stopped. Jonson, of course, uses the quotation in the latter sense here.

5. 5. 93. it shall find both spectators, and applause. Jonson is here evidently influenced by Roman comedy. Every play of Plautus and Terence closes with an appeal to the audience for applause. Cf. close of Every Man Out 5. 7, p. 197:

'I will not do as Plautus in his Amphytrio, for all this, summi Jovis causâ, plaudite; beg a plaudite for God's sake; but if you, out of the bounty of your good liking, will bestow it, why, you may in time make lean Macilente as fat as sir John Falstaff'; Epic. 5. 1, p. 478: 'Spectators, if you like this comedy, rise cheerfully, and now Morose is gone in, clap your hands. It may be, that noise will cure him, at least please him.'

The principall Comœdians.

The names of Shakespeare and Burbage require no comment. Augustine Phillips acted again with Shakespeare in Sejanus, and also appeared in Every Man out of His Humor. He included Shakespeare, Henry Condell, and Christopher Beeston, in the legacies left at his death. He died in 1605 (see Collier, Memoirs of Actors, pp. 79 ff.).

Henry Condell's association with the stage includes the period between 1598, when he appeared in Every Man in His Humor, and 1627, the year of his death. His name appears as one of the principal performers of Ben Jonson's Sejanus, in 1603; of his Volpone, in 1605; of his Alchemist, in 1610; and of his Catiline, in 1611 (Collier, pp. 132 ff. See remarks on Hemmings).

William Sly was an actor under Henslowe in 1594, and certainly was a member of Shakespeare's company two years later at the Globe and Blackfriars. He acted in Every Man out of His Humor, Sejanus, and Volpone. He died in 1608 (Collier, pp. 151 ff.).

William Kemp was a famous player of low-comedy parts. He is said to have been the original actor of Dogberry in Much Ado about Nothing, and of Peter in Romeo and Juliet. He was a clever extemporizer, creating what were known as 'Kemp's applauded Merriments'. These were interpolations in other plays. He also published several pieces known as 'jigs.' The date of his death is uncertain, but it probably occurred before 1609 (Collier, pp. 88 ff.).

John Hemmings (name spelt variously; Heming, Hemming, etc.) was a prominent actor of the Chamberlain's company

and was one of the eight actors who presented a petition to the Privy Council that they might not be prevented from repairing and enlarging the Blackfriars theatre. He and Condell are best known for their publication of the first folio edition of Shakespeare's work, in 1623. He died in 1630 (Collier, pp. 57 ff.).

Thomas Pope seems to have acquired eminence in his profession, although it can not certainly be determined with what plays he was connected except Every Man In and Every Man Out. He also was one of the eight petitioners to the Privy Council regarding Blackfriars. He died in 1603 (see Collier, pp. 120 ff.).

Less information is extant regarding Christopher Beeston and John Duke. Beeston's name appears frequently in early stage-history. He made pretensions to authorship, and addressed lines to Thomas Heywood. Nothing is known of him after 1637. Duke was a member of both Chamberlain's company and that of Henslowe and Alleyn. There is no record of his death (Collier, pp. xxx, xxxi).

GLOSSARY

The chief sources of information in the preparation of this glossary have been the New English Dictionary and the Century Dictionary. Other lexicons used are cited in the Bibliography.

A dagger before a word or definition indicates that the word or definition is obsolete; parallel lines, that a word has never been naturalized; an interrogation mark, that the sense is doubtful.

A, pro. †[Elided form of he.] See Afore, prep. I.

note 4. II. 32.
Absolute, adv. See note. 3. 5. I.
Accomodate, v. To furnish a
person with something requi-
site or convenient. I. 5. 127.
Accompt, n. [Form of account.]
Arch. I. I. 12.

Action, n. A fight, in battle as
well as in single combat. I. 4.
93; I. 5. 129.
Adiection, n. Addition. 4. 8. 5.
Admiration, n. Wonder, astonish-
ment. Arch. 4. 7. 39; 4. 8.
56.

Admire, v. To view with wonder
or surprise. Arch. 2. 5. 2.
Trouble, difficulty.

Adoe, n.

4. 30.

3.

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In or into the
presence of. Arch. and dial.
Q. 2. 2. 79; 4. 9. 30. 2. adv.
In front, in advance. Obsolete
except in nautical language and
in dialects. 2. 4. 14.
Again', prep. [Shortened form of
against.] 1. 3. 47; I. 3. 117.
Against, prep. In anticipation
of, and in preparation for I.
1. 37; 2. I. 30.
Ambuscado, n. Ambuscade. Arch.
2. 4. 15.
An', conj. [Weakened from And
= if.] If. Arch. and dial. I.

I. 42; I. 2. 19.
Anatomie, n.

A body or 'subject' for dissection. 4. 6. 38. Ancient, a. Old fashioned, anti

que. Rare. 4. 3. 9. And, conj. If. I. 2. 16; 1. 3. 78. Angell, n. An old English gold

coin, having as its device the archangel Michael, and worth about ten shillings. 2.3.40; 4. 9. 42.

Apple-squire, n. A harlot's attendant; a pimp. 4. 10. 63. Apt, a. Suited, fitted. Arch.

2. I. 119.

Artificer, n. †An artful or wily person, a trickster. 3. 5. 25. As, conj. with finite verb. I. †Obs. and replaced by that. So

as, in such manner, to such a degree ... that. Ded. 18;

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