The heavens' promoter that doth peep and prey
Into the acts of mortal tennis balls.
This he says after having, in the same highly comic speech, travestied Florio's Dedication of the third book, in which that gallant compares himself to 'Mercury between the radiant orbs of Venus and the Moon'—that is, the two ladies to whom he dedicates the book in question, and before whom he alleges he 'leads a dance.' A further sneer is directed by Furor Poeticus against the lazy manner with which Florio's Muse rises from her nest.
Additional allusions to dramatic publications from the years 1603-4 will be found on pp. 201, 202. Another proof that the play (The Return from Parnassus) cannot be of a uniform cast, is this: In act i. sc. 2 a list of the poets is given, that are to be criticised. The list is kept up in proper succession as far as 'John Davis.' Then there are variations, and names not contained in that list. These additions mostly refer to dramatic authors, whilst the previous names, as far as 'John Davis,' only refer to lyric poets.
We believe the intention of the first writer of The Return from Parnassus was only to criticise lyric poets. Moreover, Monius says in the Prologue:—'What is presented here, is an old musty show, that has lain this twelvemonth in the bottom of a coal-house amongst brooms and old shoes.' Our opinion is that The Return from Parnassus, after having been acted before a learned public at Cambridge, came into the hands of players who applied the manner in which lyric poets had been criticised in it, to dramatic writers. The authors of the additions must have been friends of Shakspere; for, as we shall find, the enemies of the latter are also theirs.
2: Act iv. sc. 3.
3: In The Poetaster, of which we shall speak farther on.
4: According to certain indications in Satiromastix, he had an 'ambling' walk, or dancing kind of step. (See note 28.)
5: Collier's Memoirs of Alleyn, pp. 50 and 51.
6: Conversations with Drummond.
7: Satiromastix, 1602.