From some pointed words in the libel composed by Crispinus against Horace, Gifford concludes that the former must be Marston, because we meet with these pointed words in some satires and dramas of Marston. We, on our part, go, in these controversial plays, by the main and most prominent characteristics; and these show that Crispinus is Shakspere, and Ovid Marston.
The latter even once says (Scourge of Villanie, sat. vi.) that many a one, in reading his Pigmalion, has compared him to Ovid. In order to make out Crispinus to be guilty before Augustus, strong language is required. For this purpose, Jonson may have used the way and manners of Marston, and applied some of his newly coined graphic words. But this proves nothing for the identity of characters. The libel also contains a pointed word of Shakspere—'retrograde'—an expression little employed by the latter, and which is hurled as a reproach against Parolles, the figure which in all likelihood is to represent Jonson; Helena (act i. sc. 2) says to him, that he was born under Mars, 'when he was retrograde.'
The remark in The Return from Parnassus that few of the University can pen plays well, smelling too much of that writer Ovid and that writer Metamorphosis, has, in our opinion, also reference to John Marston whose first dramatic attempts—although he, like Jonson, may be called a 'University man'—do not admit of any comparison with those of Shakspere.
23: Demetrius repentingly admits that it was from envy he had ill-treated Horace, because 'he kept better company for the most part than I, better men loved him than loved me; and his writings thrived better than mine, and were better liked and graced.'
24: The little word 'clutcht' for a long time 'sticks strangely' in Crispinus' throat; it is only thrown up with the greatest difficulty. In Hamlet (act v. sc. i, in the second verse of the grave-digger's song) we hear, 'Hath claw'd me in his clutch. In the original song, which is here travestied, the words are, 'Hath claw'd me with his crouch'.
25: The following allusion in The Poetaster (act iv. sc. 3) also has
reference to Twelfth Night:—'I have read in a book that to play
the fool wisely is high wisdom.' For Viola (act iii. sc. i) says:—
This fellow 's wise enough to play the fool;
And, to do that well, craves a kind of wit…
As full of labour as a wise man's art.
There are several indications in The Poetaster pointing to Shakspere's Julius Caesar which had appeared in the same year (1601). Not only does Horace say to Trebatius that 'great Caesar's wars cannot be fought with words,' but he also corrects Shakspere, who makes Antony (act iii. sc. 2) speak of Caesar's gardens on this side of the Tiber, by putting into the mouth of Horace (act iii. sc. i) the words:—' On the far side of all Tyber yonder.' In this scene, where the two Pyrgi are examined, there are some more allusions to Julius Caesar. Even the boy, whose instrument Brutus takes away when he is asleep, is not wanting. In The Poetaster it is a drum, instead of a lyre (the drum in All's Well that Ends Well). And are the following words of the same scene no satire upon act i. sc. 3 of Julius Caesar, where Casca and Cicero meet amidst thunder and lightning?
2 Pyrgi. Where art thou, boy? where is Calipolis?
Fight earthquakes in the entrails of the earth,
And eastern whirlwinds in the hellish shades;
Some foul contagion of the infected heavens
Blast all the trees, and in their cursed tops
The dismal night-raven and tragic owl
Breed and become forerunners of my fall!
Casca dwells especially on the 'bird of night.'