The name of 'Rufus' has two peculiarities which may have induced Marston to confer it upon Shakspere. First of all, like the English king of that name, Shakspere's pre-name was William. Secondly, the best-preserved portrait of Shakspere shows him with hair verging upon a reddish hue.
But not only the colour of the hair, but also its thinness (according to all pictures and busts we have of Shakspere, he was bald-headed), seems to have been satirised by Jonson in his 'Poetaster.' In act ii. sc. 1, Chloe asks Crispinus, who, excited by her love and her beauty, pretends becoming a poet, whether, as a poet, he would also change his hair? To which Crispinus replies, 'Why, a man may be a poet, and yet not change his hair.'
Now Dekker, in his 'Satiromastix, in which all personal insults are to be avenged [28](for which reason the chief personages of 'The Poetaster' are introduced under the same name), makes Horace give forth a long song in praise of 'heades thicke of hair,' whilst Crispinus gives another in honour of 'balde heads;' from which we conclude that Chloe's remark on Crispinus' hair has reference to a bald pate, but the name of 'Rufus' to the colour of whatever hair there is.
'Rufus Laberius Crispinus' might truly be thus rendered: 'The red-haired SHAK-erius, with the crisp-head, who cribs like St. Crispin.' The word Rufus, as already explained, reminds us both of Shakspere's red hair and his pre-name 'William.' Laberius (from labare, to shake; hence Shak-erius, a similar nickname as Greene's SHAKE-scene) is clearly an indication of the poet's family name. The Roman custom of placing the name of the gens, or family, in the middle of a person's name, leaves no doubt as to Jonson's intention. Laberius was a dramatic poet, even as Shakspere. Laberius was an actor (Suet. c.i. 39). So was Shakspere. Laberius played in his own dramas. Shakspere did the same. Laberius' name corresponds etymologically, as regards meaning, to the root-syllable in Shakspere's name. Could Jonson, who was so well versed in classics, have made his satirical allusion plainer or more poignant? In Crispinus, both Shakspere's curly hair and the offence of application, plagiarism, or literary theft, with which he is charged by his antagonist, are manifestly marked; St. Crispin being noted among the saints for his filching habits. He made shoes for the poor from materials stolen from the rich.
Crispinus approaches Horace quite as a 'Johannes Factotum,' as Greene had designated Shakspere in 1592. Jonson makes him assert that he, too, is a scholar, a writer conversant with every kind of poetry, and a Stoic. He also declares that he is studying architecture, and that, if he builds a house, [29] it must be similar to one before which they are standing.
In Dekker's 'Satiromastix,' Crispinus is described as being of a most gentle nature. This is in harmony with the well-known quality generally attributed to Shakspere. In the beginning of 'Satiromastix,' Crispinus approaches Horace for the object of peace and reconciliation. The latter excuses himself, in words similar to those of the 'Apologetical Dialogue,' that even if he should 'dip his pen in distilde Roses,' or strove to drain out of his ink all gall, [30] yet his enemies would look at his writings 'with sharpe and searching eyes.' Nay—
When my lines are measur'd out as straight
As even parallels, 'tis strange that still,
Still some imagine they are drawne awry.
The error is not mine, but in their eye;
That cannot take proportions.
Crispinus. Horrace, Horrace!
To stand within the shot of galling tongues,
Proves not your gilt, for could we write on paper,
Made of these turning leaves of heaven, the cloudes,
Or speak with Angels tongues: yet wise men know,
That some would shake the head, tho' saints should sing,
Some snakes must hisse, because they're borne with stings.
Horace. 'T is true.
Crispinus. Doe we not see fooles laugh at heaven? and mocke The Makers workmanship?