ct of learning
and the learned, and "the pursuit of wealth, glory, greatness, pleasure,
and fashion" by "plebian and lord alike," as well as the unaccountable
success of an ignorant playwright who writes plays on any subject that
comes into his head:

"And how they trot out in their lines the ring
With idly iterating oft one thing,
A new fought combat, an affair at sea,
A marriage or progress or a plea.
No news but fits them as if made for them,
Though it be forged but of a woman's dream."

The plays of no other dramatist of that period match the description of
the subjects of the plays given here. The "progress," mentioned by
Chapman, is undoubtedly a reference to _Love's Labour's Lost_; "A
marriage," _Midsummer Night's Dream_; "a plea," _The Merchant of
Venice_; "A new fought combat," _Henry V._--as a reflection of the
military services of Southampton and Essex in Ireland in 1599; "an
affair at sea," _Twelfth Night_, _The Merchant of Venice_, etc.

In the second scene of _Histriomastix_, to Peace, the Arts, and
Chrisoganus, come Mavortius and a group of his friends representing the
nobility whom the academicians endeavour to win to their attendance and
support. Mavortius and his followers refuse to cultivate Chrisoganus and
the Arts, preferring a life of dalliance and pleasure, and to patronise
plays and players instead. Other characters are introduced representing
the Law, the Army, and Merchandise, who also neglect the Arts and live
for pastime and sport.

The company of players patronised by Mavortius performs under the
licence of Sir Oliver Owlet, and under the leadership of Posthaste, an
erstwhile ballad maker, who writes plays for the company and who
threatens to return to ballad making when playing proves unprofitable.

One of Mavortius' followers, Landulpho, an Italian lord, criticises the
play presented by Posthaste and his fellows, and lauds the Italian
drama.

A period of peace and prosperity, during which Chrisoganus and the Arts
are neglected by the extravagant and pleasure-seeking lords and
populace, is followed by war with an aftermath of poverty when Sir
Oliver Owlet's company of players is disrupted, and the actors are
compelled to "pawn their apparel for their charges."

_Enter_ CONSTABLE.]

HOST. Master Constable, ho! these players will not pay their shot.

POST. Faith, sir, war hath so pinch'd us we must pawn.

CONST. Alas, poor players! Hostess, wha