45: This may point either to Montaigne or to Dr. Guinne, the fellow-worker of Florio in the translation of the Essays, whom the latter calls 'a monster-quelling Theseus or Hercules.'
46: The reasons which induce us to this opinion are the following: The three authors of Eastward Hoe were arrested on account of a satire contained in this play against the Scots; James I., himself a Scot, having become King of England a year before. The audacious stage-poets were threatened with having their noses and ears cut off. They were presently freed, however; probably through the intervention of some noblemen. Soon afterwards, Jonson was again in prison; and we suspect that this second imprisonment took place in consequence of Volpone. We base this view on several incidents. In a letter Jonson addressed in 1605, from his place of confinement, to Lord Salisbury (Ben Jonson, edited by Cunningham, vol. i. xlix.), he says that he regrets having once more to apply to his kindness on account of a play, after having scarcely repented 'his first error' (most probably Eastward Hoe).' Before I can shew myself grateful in the least for former benefits, I am enforced to provoke your bounties for more.' In this letter, Jonson uses a tone similar to the one which pervades his Dedication of Volpone. We therefore believe that both letter and Dedication have reference to one and the same matter. In the letter, Jonson addresses Lord Salisbury in this way:—'My noble lord, they deal not charitably who are witty in another man's work, and utter sometimes their own malicious meanings under our words.' He then continues, protesting that since his first error, which was punished more with his shame than with his bondage, he has only touched at general vice, sparing particular persons. He goes on:—'I beseech your most honourable Lordship, suffer not other men's errors or faults past to be made my crimes; but let me be examined by all my works past and this present; and trust not to Rumour, but my books (for she is an unjust deliverer, both of great and of small actions), whether I have ever (many things I have written private and public) given offence to a nation, to a public order or state, or any person of honour or authority; but have equally laboured to keep their dignity, as my own person, safe.'
Now, let us compare the following verses from the second Prologue
of Epicoene (the plural here becomes the singular):—
If any yet will, with particular sleight
Of application, (Occasioned by some person's impertinent
Exceptions.)
wrest what he doth write;
And that he meant, or him, or her, will say:
They make a libel, which he made a play.
Nor will it be easy to find out who was the cause of Volpone having been persecuted at one time—that is to say, forbidden to be acted on the stage. (Perchance by the 'obstreperous Sir Lawyer' who is mentioned in it?)
We direct the reader's attention to the eulogistic poems composed by Jonson's friends on Volpone. (Ben Jonson, by Cunningham, vol. i. pp. civ.-cv.) First there are the extraordinary praises written by those who sign their names in full:—J. DONNE, E. BOLTON, FRANCIS BEAUMONT. Then follow verses, probably composed somewhat later, which are cautiously signed by initials only—D. D., J. C., G. C., E. S., J. F., T. R. This is not the case with any other eulogistic poems referring to Jonson's dramas. The verses before mentioned, which are only signed by initials, all speak of a 'persecuted fox, or of a fox killed by hounds.'
47: 'Come, my coach!' means: 'I value my honour less than my coach.' The expression, 'O, how the wheel becomes it!' is of such a character that we must refer the reader to Montaigne's Essay III. 11.
48: Eastward Hoe< was acted in the Blackfriars Theatre by 'The Children of Her Majestie's Revels.'
49: Until now it has been assumed that The Malcontent was acted by Shakspere's Company in the Globe Theatre. This conclusion was based on the title-page of the drama, which runs thus:—
THE MALCONTENT Augmented by Marston With the Additions played by the Kings MAIESTIES SERVANTS Written by JOHN WEBSTER.