AUTHOR: *I us'd no Name*.
(too old to reply)
Arthur Neuendorffer
2017-01-01 19:05:11 UTC
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POETASTER: OR, His Arraignment. (1616 folio edition)

A COMICAL SATYR. First Acted in the Year 1601.

With the Allowance of the Master of REVELS.

The Author B. J.

Et mihi de nullo fama rubore placet. Mart.

[From Martial: 'No reputation gained
at the cost of another's blush is pleasing to me.]

Mr. Richard Martin.

SIR, A Thankful Man owes a Courtesie EVER: the unthankful, but when he needs it.
To make mine own mark appear, and shew by which of these Seals I am known, I
send you this Piece of what may live of mine; for whose Innocence, as for the
Authors, you were once a Noble and Timely Undertaker, to the greatest Justice
of this Kingdom. Enjoy now the delight of your Goodness; which is to see that
prosper, you preserv'd: and Posterity to owe the reading of that, without
offence, to your Name, which so much Ignorance, and Malice of the Times,
then conspir'd to have supprest.


<<Richard Martin (1570–1618) was an English lawyer, orator, and supporter of the Virginia Company who was appointed Recorder of the City of London at the recommendation of James I of England in 1618 but died shortly thereafter.

Martin studied at Oxford University and was admitted to the Middle Temple, one of the Inns of Court providing legal training in Elizabethan London, on 7 November 1587. He was a member of a group of intellectual men, poets, and playwrights including John Donne and Ben Jonson who met the first Friday of EVERy month at the Mermaid Tavern in Bread Street. Martin was "universally well regarded for his warmth of nature, personal beauty, and graceful speech", and was elected "prince of Love" to preside over the Christmas grand revels of the Middle Temple in the winter of 1597/98. Michelle O'Callaghan points out that those elected to oversee the grand revels had to be skilled in "singing, dancing, and music", and well-versed in "rhetoric, law and other scholastic exercises travestied" in the revels. The poet John Davies dedicated his 1596 collection "Orchestra, or a Poeme of Dauncing" to Martin, but they fell out soon after, and Davies was disbarred and briefly thrown in the Tower of London in February 1598 "for thrashing his friend, another roysterer of the day, Mr. Richard Martin, in the Middle Temple Hall" with a cudgel. (Davies publicly apologized to Martin in 1601 and was readmitted to the English Bar. He went on to have a brilliant legal career.)

Martin defended Jonson and his controversial 1602 play "The Poetaster" to the Lord Chief Justice Sir John Popham. Later, Jonson acknowledged Martin in the dedication of the 1616 folio edition of "The Poetaster" "for whose innocence as for the author's you were once a noble and kindly undertaker to the greatest justice [Popham] of this kingdom."

Martin is mentioned in, and was perhaps a co-author of, the poetic libel "The Parliament Fart", one of the most popular and malleable comic poems of the early Stuart era, which originated in the circle of tavern wits of which Martin was a part.

Martin was elected member of Parliament for Barnstaple in 1601. Following the death of Queen Elizabeth in 1603, Martin was chosen to give a speech welcoming the new King James to London on behalf of the Sheriffs of London and Middlesex as part of the celebrations of the royal entry on 7 May. In his speech, Martin reminded the king of the breadth of his new kingdom and warned of the dangers of piracy. The speech was printed that same year.

Martin was M.P. for Christchurch in James's first Parliament (1604–11) and Counsel to the Virginia Company from 1612. In May 1614, Martin was invited to speak before the Addled Parliament on the Colony of Virginia as lawyer for the company. From 1611 Martin had taken an active interest in the colonization of the Bermuda Islands or Somers Isles, and in 1615 was a founding shareholder of the Somers Isles Company chartered to manage the colony.

On the death of Sir Anthony Benn, 29 September 1618, King James recommended Martin to the City of London for their recorder or chief counsel to the Lord Mayor, and he was chosen to the position, but died about a month after, of the smallpox, on Sunday morning 2 November 1618, and was buried in the Temple Church, London.

In 1617, when the treasury of the Virginia Company was exhausted, societies of private adventurers were authorized to settle plantations in Virginia under the style of "hundreds." One of the first of these societies, organized in 1618 as the Society of Martin's Hundred, was named in honor of Richard Martin who had so eloquently defended Virginia before Parliament in 1614. Martin's Hundred, containing some 80,000 acres, was about seven miles below Jamestown, Virginia, on the north side of the James River.>>
. "The Poetaster" [After the second sounding.]
Envy [Arising in the midst of the Stage.]:
. LIght, I salute thee, but with wounded Nerves:
. Wishing thy Golden splendor, pi(T)chy d(A)rkn[E|S)s.
. Wha(T)'s her(E)? th' Ar(R)aignment? I: This, this is it.
. That ou[R] sunk Eyes have wak't for all this while:
. Here will be su[B]ject for my Snakes, and me.
. Cling to my Neck, and Wrists, m[Y] loving Worms,
. And cast you round in soft and amorous foulds,
. Till I do bid, uncurl: Then break your Knots,
. Shoot out your selves at length, as your forc't Stings
. Would hide themselves within his malic't sides,
. To whom I shall apply you. Stay! the shine
. Of this Assembly here offends my sight,
. I'll darken that first, and Out-face their Grace.
[DERBY] 44
. "The Poetaster" PROLOGUE. [The third Sounding.]
. STay Monster, ere thou sink, thus on thy Head
. Set we our bolder Foot; with which we tread
. Thy Malice into Earth: So spight should dye,
. Despis'd and scorn'd by noble Industry.
. If any muse why I salute the Stage,
. An armed Prologue; know, 'tis a dangerous Age:
. Where{I}n, who writes, had need present his Sc{E}nes
. Forty-fold proof against the co{N}juring means
. Of base Detractors, an{D} illiterate Apes,
. That fill up Rooms {I}n fair and formal shapes.
.'Gainst the{S}e, have we put on this forc't defence:
{SIDNEI} -30
. Whereof the Allegory and hid sense
. Is, that a well erected Confidence
. Can fright their Pride, and laugh their Folly hence.
. Here now, put case our Author should, once more,
. Swear that his Play were good; he doth implore,
. You would not argue him of Arrogance:
. How e're that common Spawn of Ignorance,
. Our fry of Writers may beslime his Fame,
. And give his Action that adulterate Name.
. Such full-blown vanity he more doth loath,
. Than base dejection: There's a mean 'twixt both.
. Which with a constant firmness he pursues,
. As one that knows the strength of his own Muse.
. And this he hopes all free Souls will allow;
. Others, that take it with a rugged brow,
. Their Moods he rather pitties than envies:
. His Mind it is above their Iujuries.

. "The Poetaster" Act I. Scene I.
Ovid: THen, when this Body falls in Funeral Fire,
. My name shall live, and my best part aspire.
. It shall go so.
Luscus: Young Master, Master Ovid, do you hear? Gods
. a me! away with your Songs, and Sonnets; and on with
. your Gown and Cap, quickly: here, here, your Father
. will be a Man of this room presently. Come, nay, nay,
. nay, nay, be brief. These Verses too, a poyson on 'em,
. I cannot abide 'em, they make me ready to cast by the
. Banks of Helicon. Nay look, what a rascally untoward
. thing this Poetry is; I could tear 'em now.
. "The Poetaster" Act I. Scene II.
. YOur Name shall live in[D]eed, Sir; you say TRUE:
. but how infamously, how scorn'd and contemn'd
. in the [E]ye(S) and Ears (O)f the bes(T) and grav(E)st Roman(S),
. that you (T)hink not on: you ne[V]er so much as dream of
. that. Are these the Fruits of all my travel and exp[E]nces?
. is this the Scope and Aim of thy Studies? are these the
. hopeful Cou[R]ses, wherewith I have so long flattered my
. expectation from thee? Vers[E]s? POETry? Ovid, whom I
. thought to see the Pleader, become Ovid the Play-maker?
. <= 58 =>
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ntemndinthe [E] ye(S)andEars(O)fthebes(T)andgrav(E)stRoman(S)thatyou(T)hin
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romtheeVers [E] sP O ETryOvi d whomIth o ughttos e ethePle a derbeco m eOv
idthePlayma k er
[DE VERE] 58
"The Poetaster" Act V. Scene III.
. <= 58 =>
. TucComeIloveBullyHoraceaswellasthoudostItisanhon [E] stHierogl
. yphickGivemethywristHeliconDostthouthinkIlesecon [D] ereaRhino
. cerosofthemallagainsttheehaorthyNobleHippocreneh [E] reIleturn
. StagerfirstandbewhipttoodostthouseeBullyCæsYouha [V] eyourwill
. ofCæsaruseitRomansVirgilshallbeyourPrætorandours [E] lfWillher
. esitbySpectatorofyoursportsAndthinkitnoImpeachof [R] oyaltyOur
. EarisnowtoomuchprophandgraveMaroWiththesedistast [E] stotaketh
. ysacredLinesPutupthyBooktillboththetimeandweBefi t tedwithmo
. rehallowedcircumstanceForthereceivingsodivineawo r kProceedw
. ithyourdesign
[E.DE VERE] 58
Tuc. Come,
. I love Bully Horace as well as thou dost, I: 'tis an hon[E]st
. Hieroglyphick. Give me thy wrist, Helicon. Dost thou
. think I'le secon[D] e're a Rhinoceros of them all, against
. thee? ha? or thy Noble Hippocrene, h[E]re? I'le turn Sta-
. ger first, and be whipt too: dost thou see, Bully?

Cæs. You ha[V]e your will of Cæsar: use it Romans.
. Virgil shall be your Prætor; and our s[E]lf
. Will here sit by, Spectator of your sports;
. And think it no Impeach of [R]oyalty.
. Our Ear is now too much prophan'd (grave Maro)
. With these distast[E]s, to take thy sacred Lines:
. Put up thy Book, till both the time and we
. Be fitted with more hallowed circumstance
. For the receiving so divine a work.
. Proceed with your design.
"The Poetaster" Act V. Scene III.

Tib. Rufus Laberius Crispinus, and Demetrius Fan-
nius, lay your Hands on your Hearts. {Y}ou shall h{E}re so-
lemn{L}y attest a{N}d swear, Th{A}t nEVER (af{T}er this in{S}tant) ei-
ther at Booksellers Stalls, in Taverns, Two-peny Rooms, Ty-
ring-houses, Noblemens Butteries, Puisne's Chambers (the best
and farthest Places where you are admitted to come) you
shall once offer or dare (thereby to endear your self the more
to any Player, Enghle, or guilty Gull in your Company) to
malign, traduce, or detract the Person or Writings of Quin-
tus Horacius Flaccus or any other eminent Man, transcend-
ing you in merit, whom your Envy shall find cause to work
upon, either for that, or for keeping himself in better
Acquaintance, or enjoying better Friends; or if (transported
by any sudden and desperate Resolution) you do, That then
you shall not under the Bastoun, or in the next Presence, be-
ing an honourable Assembly of his Favourers, be brought as
voluntary Gentlemen to undertake the forswearing of it.
. <= 9 =>
. {Y}o u s h a l l h
. {E}r e s o-l e m n
. {L}y a t t e s t a
. {N}d s w e a r,T h
. {A}t n E V E R(a f
. {T}e r t h i s i n
. {S T A N} t)e i-t h
. e r a t B o o k s
. e l l e r s S t a
. l l s,
"The Poetaster" Act III. Scene V.

Horatio: Of that, my powers shall suffer no neglect,
. When such slight Labours may aspire respect:
. But, if I wa{T}ch {N}ot {A} mo{S}t c{H}os{E}n time,
. The humble words of Flaccus cannot clime
. Th' attentive Ear of Cæsar; nor must I
. With less observance shun gross flattery:
. For he, reposed safe in his own merit,
. Spurns back the gloses of a fawning spirit.
"The Poetaster" TO THE READER.

IF, by looking on what is past, thou hast deserv'd that Name, I am willing
(T)hou should'st yet know more, by th(A)t which follows, an Apologetica(L)
Dialogue; which was only once sp(O)ken upon the Stage, and all the An(S)wer
I EVER gave to sundry impotent Libels then cast out (and some yet remaining)
against me, and this Play. Wherein I take no pleasure to revive the Times;
but that Posterity may make a difference between their Manners that provok'd
me then, and mine that neglected them EVER. For, in these Strifes, and on
such Persons, were as wretched to affect a Victory, as it is unhappy to
be committed with them. Non annorum canities est laudanda, sed morum.

The P E R S O N S.

N A S U T U S, P O L Y P O S U S, A U T H O R.
AUTHOR: *I us'd no Name*.
My Books have still been taught
To spare the Persons, and to speak the Vices.
These are meer Slanders, and enforc'd by such
As have no safer ways to Mens Disgraces,
But their own Lies, and loss of Honesty:
Fellows of practis'd and most laxative Tongues,
Whose empty and eager Bellies, i' the Year,
Compel their Brains to many desp'rate Shifts,
(I spare to name 'em; for, their Wretchedness
Fury it self would pardon.) These, or such,
Whether of Malice, or of Ignorance,
Or Itch t' have me their Adversary, (I know not)
Or all these mixt; but sure I am, three Years
They did provoke me with their petulant Styles
On EVERy Stage: And I at last, unwilling,
But weary, I confess, of so much trouble,
Thought I would try if Shame could win upon 'em;
And therefore chose Augustus Cæsar's Times,
When Wit and Arts were at their height in Rome,
To shew that Virgil, Horac{E}, and the rest
Of those great Master-spirits, {D}id not want
Detractors then, or Practisers {A}gainst (T)hem:
And by [T]his Line ((A)lthough no Pa{R}alle[L])
I hop'd at last they w(O)uld sit d[O]wn, and {B}lu(S)h:
But nothing could I fin[D] more contrar{Y}.
And thou[G]h the Impudence of Flies be gr[E]at,
Yet this hath so provok'd the angry Wasps,
Or, as you said, of the next Nest, the Hornets,
That they fly buzzing, mad, about my Nostrils,
And like so many screaming Grashoppers
Held by the Wings, fill EVERy Ear with Noise.
{E.DARBY} 36
[T.LODGE] 25
(TALOS) 17
Art Neuendorffer
2017-01-02 17:59:52 UTC
Raw Message
Post by Arthur Neuendorffer
POETASTER: OR, His Arraignment. (1616 folio edition)
If you're suggesting that Oxford was a poetaster, then I agree completely, Art.
Post by Arthur Neuendorffer
If you're suggesting that Oxford was a comical satyr, then you may have a point, Art:


"In Greek mythology, a satyr (UK /ˈsætə/, US /ˈseɪtər/;[1] Greek:
σάτυρος satyros,[2] pronounced [sátyros]) is one of a troop of
ithyphallic male companions of Dionysus with goat-like features and
often permanent erection."

Post by Arthur Neuendorffer
The Author B. J.
I wouldn't bring up the author's BJ if I were you, Art; in view of Arundel's accusation, it's poor salesmanship.

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
<<Richard Martin (1570–1618) was an English lawyer, orator, and supporter
of the Virginia Company who was appointed Recorder of the City of London
at the recommendation of James I of England in 1618 but died shortly
But Art -- "Dick Martin" is an anagram of "I'm Art N., dick".

[Lunatic logorrhea snipped]
Post by Arthur Neuendorffer
Martin is mentioned in, and was perhaps a co-author of, the poetic libel
"The Parliament Fart",
In view of Aubrey's anecdote, that certainly sounds like Oxford!
Post by Arthur Neuendorffer
one of the most popular and malleable comic poems
of the early Stuart era, which originated in the circle of tavern wits
But Art -- "tavern wits" is an anagram of "W. S.: t'aint Ver"!
Post by Arthur Neuendorffer
which Martin was a part.
[Lunatic logorrhea and much crackpot cryptography snipped]
Post by Arthur Neuendorffer
Art Neuendorffer (aka Noonedafter)