William Cartwright:
...Shakespeare to thee was DULL, whose best jest lyes
I'th Ladies questions, and the Fooles replyes;
Old fashion'd wit, which walkt from town to town
In turn'd Hose, which our fathers call'd the CLOWN;
Whose wit our nice times would obsceannesse call,
And which made Bawdry passe for Comicall:
Nature was all his Art, thy veine was FREE
As his, but without his SCURILITY;
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Clown \Clown\ (kloun), n. [Cf. Icel. klunni a clumsy, boorish
fellow, North Fries. kl["o]nne clown, dial. Sw. klunn log,
Dan. klunt log, block, and E. clump, n.]
1. A man of coarse nature and manners; an awkward fellow; an
ill-bred person; a boor. --Sir P. Sidney.
2. One who works upon the soil; a rustic; a churl.
The clown, the child of nature, without guile.
--Cowper.
3. The fool or buffoon in a play, circus, etc.
The clown shall make those laugh whose lungs are
tickle o'the sere. --Shak.
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Cut/discretion/judgement vs. Dullness/lack of discernment/ignorance
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http://en.wikipedia.org/wiki/Dulness
Dulness is the goddess who presides over Alexander Pope's The Dunciad. She is the daughter of Nox and Chaos, and her mission is to convert all the world to stupidity. Her triumph is part of the translatio stultitia (the inverse of the translatio studii). As "enlightenment" moves ever westward, darkness follows behind. In Pope's poem, she already has control of all political writing and seeks to extend her reign to drama. Hence, she chooses as a champion Lewis Theobald (Dunciad A) and Colley Cibber (Dunciad B).
Pope presents her power as inexorable and irresistible, and in Book IV of the Dunciad B he asks only that she pause a moment to let him write his poem before she takes "the singer and the song" into her oblivion. She is not motivated by any particular malice, and she even shows mercy at one point, if being reduced to insensibility is mercy, for, when a deflowered nun comes before her, she drops her cloak of shamelessness over the ruined woman. Instead, she has an essential antipathy toward learning and independent thinking, and, for Pope, loss of the ability to discern, to think, and to appreciate is a living death and the license of all evil.
For Pope, who was himself a Roman Catholic, the papacy's doctrine of infallibility, absolute monarchy, foreign language opera, flattery, the replacement of sound architecture for politically well placed hacks, the redesign of good (classically ordered) buildings, the money grubbing of what would now be called tabloid press are all signs of the triumph of Dulness over reason and light. Each of these things represents choosing the less thoughtful over the more rational choice, each requires credulity and acceptance over curiosity and independence, and therefore Pope blames, at least as much as any agent of Dulness, an indifferent and uneducated public.
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Dull Grinning Ignorance:
John Beaumont , Jonsonus Virbius
...Twas he that found (plac'd) in the seat of wit,
DULL grinning IGNORANCE, and banish'd it;
He on the prostituted stage appears
To make men hear, not by their eyes, but ears;
Who painted virtues, that each one might know,
And point the man, that did such treasure owe :
So that who could in JONSON'S lines be high
Needed not honours, or a riband buy ;
But vice he only shewed us in a glass,
Which by reflection of those rays that pass,
Retains the figure lively, set before,
And that withdrawn, reflects at us no more;
So, he observ'd the like decorum, when
*He whipt the vices, and yet spar'd the men* :
When heretofore, the Vice's only note,
And sign from virtue was his party-coat;
When devils were the last men on the stage,
And pray'd for plenty, and the PRESENT AGE.
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Uncouth:
Dunce \Dunce\, n. [From Joannes Duns Scotus, a schoolman called
the Subtle Doctor, who died in 1308. Originally in the phrase
``a Duns man''. See Note below.]
One backward in book learning; a child or other person dull
or weak in intellect; a dullard; a dolt.
I never knew this town without dunces of figure.
--Swift.
Note: The schoolmen were often called, after their great
leader Duns Scotus, Dunsmen or Duncemen. In the revival
of learning they were violently opposed to classical
studies; hence, the name of Dunce was applied with
scorn and contempt to an opposer of learning, or to one
slow at learning, a dullard.
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Edward de Vere/Amorphus - Jonson's Literary Dunce
http://en.wikipedia.org/wiki/Category:Literary_dunces
Literary dunces are persons, either real or legendary, who are used in literature as targets of satire. This usage of the term derives from Alexander Pope's landmark poetic satire, The Dunciad, and the category is to be used specifically for figures used as dunces by 18th-century British satire (in the standard literary-historical sense of the "long" 18th century, 1660–1800).
Also for early 19th-century authors who used the same general terminology (e.g., Lord Byron and Samuel Taylor Coleridge who knew and used Pope's category). Dunces are not villains, although they can be villainous, as much as they are held up as the epitome of stupidity, imposture, and connivance. Membership in this category does not imply that the figure was a dullard. In fact, the opposite is likely true, as these figures needed to rise to a position of importance to be satirized in this way. Instead, these are figures who were satirized particularly as symbols of all things "WRONG" with society or a particular political position. Unfortunately, in some cases it has overshadowed their merits.
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"Epitaph on the Admirable Dramatic Poet, William Shakespeare" -- John Milton
1632 Second Folio
WHAT need my Shakespear for his honour'd Bones,
The labour of an age in piled Stones,
Or that his hallow'd reliques should be hid
Under a Star-ypointing Pyramid?
Dear son of memory, great heir of Fame,
What need'st thou such DULL witnes of thy name?
Thou in our wonder and astonishment
Hast built thy self a lasting Monument...
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Horace Of the Art of Poetry - transl. Ben Jonson
...Most writers, noble sire and either son,
Are, with the LIKENESS OF THE TRUTH, undone.
Myself for shortness labour, and I grow
Obscure. This, striving to run smooth, and flow,
Hath neither soul nor sinews. Lofty he
Professing greatness, swells; that, low by lee,
Creeps on the ground; too safe, afraid of storm.
This seeking, in a various kind, to form
One thing prodigiously, paints in the woods
A dolphin, and a boar amid the floods.
So shunning faults to greater fault doth lead,
When in a WRONG AND ARTLESS WAY WE TREAD.
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Ambisinister Droeshout - 'Wrong' in both hands
King of Dunces
Figure of Fun
********************************
TO THE READER.
This FIGURE that thou here seest put,
It was for gentle SHAKSPEARE CUT,
Wherein the graver had a strife
With nature, to out-do the life :
O could he but have drawn his WIT
As well in brass, as he has hit
His FACE ; the print would then surpass
All that was ever writ in brass :
But since he cannot, reader, look
Not on his picture, but his book.
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It was for gentle Shakspeare CUT:
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Cut/discretion/judgement vs. Dullness/lack of discernment/ignorance
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Puttenham, Shakespeare, and the abuse of rhetoric.
By: Hillman, David, Studies in English Literature (Rice), 00393657, Winter96, Vol. 36, Issue 1
...The way in which this criss-crossing shaped the uses of the word "discretion" in early modern England is the subject of this essay.
(snip)
The term came into prominence in a wide range of texts and acquired a new range of meanings during the early modern period. According to the OED, the word had, prior to 1590, denoted personal 'judgement," "discernment," or "prudence," as well as juridical "power of disposal" (in addition to being an honorific title, in such phrases as "your high and wise discretion"). But early modern discourse saw a burgeoning of overlapping meanings in a variety of cultural spheres. These included personal attributes (tact, propriety of behavior, or secrecy--in explicit contrast to madness, impertinence, and rashness); a social classification (the separation of those who possess these attributes--the "discreet"--from those who do not, and of those who have reached the "age of discretion" from those who have not); the legal power to enforce this stratification (the authority or "discretion of the law"); and the ostensibly purely aesthetic separations of literary decorum (the discrezione or "discernment" of Italian neoclassical literary theory; the Indo-European base of the word--[*][s]ker, to cut--is in fact the same as that of "critic"). The Latin root of "discretion"--cernere, to sift out--was reunited with the word only at the end of the sixteenth century, when it again began to mean, quite simply, "separation"; and it is this meaning, separation as such, that underlies the potential of the word to be used, in all these diverse contexts, to ground a hierarchical ideology. The word was almost invariably used in Elizabethan England as a means of constructing social, cultural, or aesthetic difference.
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Alexander Pope
...of all English Poets Shakespear must be confessed to be the fairest and fullest subject for Criticism, and to afford the most numerous, as well as the most conspicuous instances, both of beauties and faults of all sorts. (ibid. p. i)
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Shakespeare/Oxford as Jonson's Foolish and Indiscreet Other:
The word [discretion]was almost invariably used in Elizabethan England as a means of constructing social, cultural, or aesthetic difference. (Hillman)
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Neither Decency nor Discretion - Oxford as Sidney's Foolish and Indiscreet Other:
Sidney, Defense of Poetry
But, besides these gross absurdities, how all their plays be neither right tragedies nor right comedies, mingling kings and clowns, not because the matter so carrieth it, but thrust in the clown by head and shoulders to play a part in majestical matters, with neither decency nor discretion; so as neither the admiration and commiseration, nor the right sportfulness, is by their mongrel tragi-comedy obtained. I know Apuleius did somewhat so, but that is a thing recounted with space of time, not represented in one moment; and I know the ancients have one or two examples of tragi-comedies, as Plautus hath Amphytrio. But, if we mark them well, we shall find that they never, or very daintily, match hornpipes and funerals. So falleth it out that, having indeed no right comedy in that comical part of our tragedy, we have nothing but scurrility, unworthy of any chaste ears, or some extreme show of doltishness, indeed fit to lift up a loud laughter, and nothing else; where the whole tract of a comedy should be full of delight, as the tragedy should be still maintained in a well-raised admiration.
(snip)
But our comedians think there is no delight without laughter, which is very wrong; for though laughter may come with delight, yet cometh it not of delight, as though delight should be the cause of laughter; but well may one thing breed both together. Nay, rather in themselves they have, as it were, a kind of contrariety. For delight we scarcely do, but in things that have a conveniency to ourselves, or to the general nature; laughter almost ever cometh of things most disproportioned to ourselves and nature. Delight hath a joy in it either permanent or present; laughter hath only a scornful tickling...But I have lavished out too many words of this playmatter. I do it, because as they are excelling parts of poesy, so is there none so much used in England, and none can be more pitifully abused; which, like an unmannerly daughter, showing a bad education, causeth her mother Poesy`s honesty to be called in question.
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Hamlet, the Gravedigger, and Indecorous Decorum
Maurice Hunt
...Hamlet's and Horatio's reactions to the gravedigger's little song are revealing. Hamlet is a true Sidneyan in his insistence upon DECORUM. "Has this fellow no feeling of his business, the 'a sings at gravemaking?" Gravediggers, in Hamlet's opinion, should be consistently grave, especially when they are about their mystery. Hornpipes and funerals should not be mixed in Hamlet's tragic world. His neoclassical attitude perhaps derives from his profound disappointment over his mother's unseemly and hasty remarriage. He has heard Claudius, with oily art, exclaim:
Therefore our sometime sister, now our queen,
The imperial jointress to this warlike state,
Have we, as 'twere with a defeated joy,
With an auspicious and a dropping eye,
With mirth in funeral and with dirge in marriage,
In equal scale weighing delight and dole,
Taken to wife:
It was the marriage mirth disturbing the solemnity of his father's funeral that partly alienated Hamlet and helped solidify his philosophy of decorum, which is succinctly phrased in his advice to the Player about suiting "the action to the word, the word to the action". Hearing the gravedigger happily sing of love in the midst of death, Hamlet assumes that the Clown, like Claudius, has "no feeling of his business." The word "feeling" in this context is ironic. Hamlet of course means "Has this fellow no proper understanding of his somber role in society?" The gravedigger does have a "feeling" here - an affection for a beloved that Hamlet overlooks in his judgment. Like Sir Philip Sidney, Hamlet will not admit the tragicomic view of life.
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Horace, of the Art of Poetrie
transl. Ben Jonson
If to Quintilius, you recited ought:
Hee'd say, Mend this, good friend, and this; "Tis naught.
If you denied, you had no better straine,
And twice, or thrice had 'ssayd it, still in vaine:
Hee'd bid, blot all: and to the anvile bring
Those ill-torn'd Verses, to new hammering.
Then: If your fault you rather had defend
Then change. No word, or worke, more would he spend
In vaine, BUT YOU, AND YOURS, YOU should LOVE STILL
Alone, without a rivall, by his will.
A wise, and honest man will cry out shame
On artlesse Verse; the hard ones he will blame;
Blot out the careless, with his turned pen;
Cut off superfluous ornaments; and when
They're darke, bid cleare this: all that's doubtfull wrote
Reprove; and, what is to be changed, not:
Become an Aristarchus. And, not say,
Why should I grieve my friend, this TRIFLING WAY?
These trifles into serious mischiefs lead
The man once mock'd, and suffered WRONG TO TREAD.
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Soul of an Ignorant Age:
TO THE GREAT EXAMPLE OF HONOR, AND VERTVE, THE MOST NOBLE WILLIAM EARLE OF PENBROOKE, &c.
MY LORD,
IN so thicke, and darke an IGNORANCE, as now almost couers the AGE, I craue leaue to stand neare your Light: and, by that, to be read. Posterity may pay your Benefit the Honour, and Thanks; when it shall know, that you dare, in these JIG-GIVEN times, to countenance a Legitimate Poëme. I must call it so, against all noise of Opinion: from whose crude, and airy Reports, I appeale, to that great and singular Faculty of Iudgment in your Lordship, able to vindicate Truth from Error. It is the first (of this RACE) that euer I dedicated to any Person, and had I not thought it the best, it should haue beene taught a lesse ambition. Now, it approacheth your Censure chearefully, and with the same assurance, that Innocency would appeare before a Magistrate.
Your Lo. most faithfull Honorer. Ben. Ionson.
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crude, and airy Reports - '"My lord, I had forgott the fart." (Aubrey on Oxford)
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FALKLAND, _Jonsonus Virbius_
...How in an IGNORANT, and learn'd AGE he [Jonson] swaid,
(Of which the first he found, the second made)
How He, when he could know it, reapt his Fame,
And long out-liv'd the envy of his Name:
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Jonson, Discoveries
De Poetica. - We have spoken sufficiently of oratory, let us now make a diversion to poetry. Poetry, in the primogeniture, had many PECCANT HUMOURS, and IS MADE TO HAVE MORE NOW, through the levity and inconstancy of men' s judgments. Whereas, indeed, it is the most prevailing eloquence, and of the most exalted caract. Now the discredits and disgraces are many it hath received through men' s study of depravation or calumny; their practice being to give it diminution of credit, by lessening the professor' s estimation, and making THE AGE afraid of their liberty; and THE AGE is grown so tender of her fame, as she calls all writings aspersions.
That is the state word, the PHRASE OF COURT (placentia college), which some call PARASITES PLACE, the INN OF IGNORANCE.
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Peccant \Pec"cant\, a. [L. peccans, -antis, p. pr. of peccare to
sin: cf. F. peccant.]
1. Sinning; guilty of transgression; criminal; as, peccant
angels. --Milton.
2. Morbid; corrupt; as, peccant humors. --Bacon.
3. WRONG; defective; FAULTY. [R.] --Ayliffe.
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Trophaeum Peccati - On Recorder of Stratford Greville's 'tomb' in Warwick
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Shakespeare's Ignorant Admirers:
Jonson
I remember, the Players have often mentioned it as an honour to
Shakespeare, that in his writing, (whatsoever he penn'd) hee never
BLOTTED out line. My answer hath beene, would he had BLOTTED a
thousand. Which they thought malevolent speech. I had not told
posterity this, but for their IGNORANCE, who choose that circumstance
to commend their friend by, wherein he most FAULTED...
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Alexander Pope
...of all English Poets Shakespear must be confessed to be the fairest and fullest subject for Criticism, and to afford the most numerous, as well as the most conspicuous instances, both of beauties and faults of all sorts. (ibid. p. i)
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The RACE of Shakespeare's Mind and Manners:
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TO THE Most Learned, and my Honour'd Friend,
Mr. C A M B D E N,
C L A R E N T I A U X.
SIR,
IT Here are, no doubt, a Supercilious RACE in the World, who will esteem all Office, done you in this kind, an Injury; so Solemn a Vice it is with them to use the Authority of their IGNORANCE, to the crying down of Poetry, or the Professors: But my Gratitude must not leave to correct their Error; since I am none of those that can suffer the Benefits confer'd upon my Youth to perish with my Age. It is a frail Memory that remembers but present things: And, had the Favour of the times so conspir'd with my Disposition, as it could have brought forth other, or better, you had had the same proportion, and number of the Fruits, the first. Now, I pray you to accept this; such, wherein neither the Consession of my MANNERS shall make you blush; nor of my Studies, repent you to have been the Instructer: And for the profession of my thankfulnes, I am sure it will, WITH GOOD MEN, find either Praise or Excuse.
Your True Lover,
BEN. JOHNSON.
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Shakespeare/Scurra - The 'Bumpkinification of the Earl of Oxford'
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_Mirth Making_, Chris Holcomb
In his Ethics, Aristotle suggests that changes in stylistic and substantive predilections indicate advances in civilization. While enumerating the differences between the jesting of a buffoon and a witty gentleman, Aristotle compares each character type to Old and New Comedy, respectively: "The difference (between a buffoon and a gentleman) may be seen by comparing the old and modern comedies; the earlier dramatists found their fun in obscenity, the modern prefer innuendo, which marks a great advance in decorum; (4.8.6). This comparison suggest that smutty humor is less civilized than the more refined humor delivered through innuendo. (footnote pp. 199-200)
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William Cartwright
...Shakespeare to thee was dull, whose best jest lyes
I'th Ladies questions, and the Fooles replyes; [70]
OLD FASHION'D WIT, which walkt from town to town
In turn'd Hose, which our fathers call'd the CLOWN;
Whose wit our nice times would obsceannesse call,
And which made Bawdry passe for Comicall:
Nature was all his Art, thy veine was FREE
As his, but without his SCURILITY;
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Scurra:
Mirth Making. The Rhetorical Discourse on Jesting in Early Modern England
Chris Holcomb
...Associations between social status and certain forms of jesting appear as early as the Nicomachean Ethics, where Aristotle classifies different modes of jesting according to three social types: the boor, the buffoon, and the witty man of tact. Aristotle has little to say about boorish men except that they never say "anything funny themselves and take offense at those who do" (4.8.3) Instead, Aristotle dwells on differences between the buffoon and man of wit, and in differentiating these two social types, he associates indecorous jests with those of the lower-class buffoon and decorous ones with those of a gentleman. 'Those who go to excess in ridicule are thought to be buffoons or VULGAR FELLOWS, who itch to have their joke at all costs, and are more concerned to raise a laugh than to keep within the bounds of decorum' (4.8.3). The buffoon often jests in a 'servile' and often obscene fashion (4.8.5-6), he 'cannot resist a joke,' he will 'not keep his tongue off himself or anyone else, if he can raise a laugh,' and he 'will say things which a man of refinement would never say' (4.8.10). Those 'who jest with good taste,' by contrast, will say 'only the sort of things that are suitable to a virtuous man and a gentleman; (4.8.5). They prefer to jest by way of 'innuendo, which marks a great advance in decorum,' and they will never stoop so low in their jesting as to say anything 'unbecoming to a gentleman' (4.8.6-7). The line Aristotle draws here is not simply one between the indecorous and decorous; it is also one between the lower and upper classes. And while Aristotle couches his distinctions in more or less descriptive (although elitist) terms, they do have prescriptive force. If a speaker is to show himself as a 'man of refinement,' he must limit his jesting behaviours and avoid the excesses of the buffoon.
Cicero and Quintilian adopt Aristotle's method of classifying decorous and indecorous jests along class lines, and they both use the buffoon and well-bred man of tact to define forms of jesting befitting an orator (the boor, as often happens in everyday life, is left out of their discussions of jesting). But they add to the ranks of the buffoon (or SCURRA, in Latin) a cast of characters familiar from the Roman stage, street performances, and entertainments provided at a gentleman's dinner party - characters including the mime (mimus), pantomime (ethologus), and clown (sannio). Cicero says that 'an orator must avoid each of two dangers: he must not let his jesting become buffoonery or mere mimicking (scurrilis...aut mimicus)' (2.58.239). Like Aristotle's buffoon, the Latin scurra violates proprieties of time. Cicero says he jests "from morning to night, and without any reason at all" (2.60.245). He also shows no restraint in his selection of objects of ridicule, and his jests, like a scattergun, will often strike 'unintended victims' (2.60.245). He will even turn himself into an object of ridicule if he thinks he can raise a laugh (Quintilian, 6.3.82). Most important, the scurra is a member of the lower classes, a parasite who would often perform at a gentleman's dinner party for table scraps, and his antics almost always bespoke his lowly position. For all of these reasons, especially the last, Cicero and Quintilian repeatedly insist that orators avoid all likeness to buffoons, and toward this end, they offer a set of strictures limiting the jesting practices of orators so that those practices accord with the orator's gentlemanly status. With respect to proprieties of time, Cicero says, "Regard then to occasions, control and restraint of our actual raillery, and economy in bon-mots, will distinguish an orator from a buffoon (oratorem a scurra)" (2.60.247). As we have seen, orators should also be careful in their selection of comic butts and avoid targeting the excessively wretched or wicked and the well-beloved. Moreover, they must never turn themselves into objects of laughter for, as Quintilian says, "To make jokes against oneself is scarcely fit for any save professed buffoons and is strongly to be disapproved in an orator" (6.3.82). Presumable, orators should keep the audience's laughter off themselves and direct it only at their opponents. Above all, the orator should only jest in ways that befit a gentleman or liberalis. He should avoid obscenities in his jesting, which are 'not only degrading to a pubic speaker, but also hardly sufferable at a gentleman's dinner party (convivio liberorum)' (De oratore, 2.61.252), and 'scurrilous or brutal jests, although they may raise a laugh, are quite unworthy of a gentlman (liberali)' (Quintilian, 6.3.83). In an allusion to his famous formulation or the orator as a GOOD MAN, or vir bonus, skilled in speaking, Quintilian sums up his attitudes toward buffoonery, a summation that will serve for Cicero's views on the subject as well: 'A good man (vir bonus) will see that everything he says is consistent with his dignity and the respectability of his character (dignitate ac verecundia); for we pay too dear for the laugh we raise if it is at the cost of our own integrity (probitatis)' (6.3.35). (Holcomb,pp.39-40)
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Probitas
Latin probitas HONESTY, probity, uprightness.
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Pope, Preface to Shakespeare
...the images of Life were to be drawn from those of their [the audience’s] own rank: accordingly we find, that not our Author’s only but almost all the old Comedies have their Scene among Tradesmen and Mechaniks: and even their Historical Plays strictly follow the common Old Stories or Vulgar Traditions of that kind of people. In Tragedy, nothing was so sure to Surprize and cause Admiration, as the most strange, unexpected, and consequently most unnatural, Events and Incidents; the most exaggerated Thoughts; the most verbose and bombast Expression; the most pompous Rhymes, and thundering Versification. In Comedy, nothing was so sure to please, as mean bufoonery, vile ribaldry, and unmannerly jests of fools and clowns. (Preface to edition, p. v)
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"To My Book" by Ben Jonson
It will be looked for, book, when some but see
Thy title, Epigrams, and named of me,
Thou should'st be bold, licentious, full of gall,
Wormwood, and sulphur, sharp, and toothed withal;
Become a petulant thing, hurl ink, and wit,
As madmen stones: not caring whom they hit.
Deceive their malice, who could wish it so.
And by thy wiser temper, let men know
Thou are not covetous of least self-fame.
Made from the hazard of another's shame:
Much less with lewd, profane, and beastly phrase,
To catch the world's loose laughter, or VAIN gaze.
*He that DEPARTS with his own HONESTY
For VULGAR PRAISE, doth it too dearly buy.*
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Shakespeare:
O, lest the world should task you to recite
What merit lived in me, that you should love
After my death, dear love, forget me quite,
For you in me can nothing worthy prove;
Unless you would devise some virtuous lie,
To do more for me than mine own desert,
And hang more praise upon deceased I
Than niggard truth would willingly impart:
O, lest your true love may seem false in this,
That you for love speak well of me untrue,
My name be buried where my body is,
And live no more to shame nor me nor you.
For I am shamed by that which I bring forth,
And so should you, to love things nothing worth.
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Ruling Shakespeare's Quill:
From To the Deceased Author of these Poems (William Cartwright)
by Jasper Mayne
...And as thy Wit was like a Spring, so all
The soft streams of it we may Chrystall call:
No cloud of Fancie, no mysterious stroke,
No Verse like those which antient Sybils spoke;
No Oracle of Language, to amaze
The Reader with a dark, or Midnight Phrase,
Stands in thy Writings, which are all pure Day,
A cleer, bright Sunchine, and the mist away.
That which Thou wrot'st was sense, and that sense good,
Things not first written, and then understood:
Or if sometimes thy Fancy soar'd so high
As to seem lost to the unlearned Eye,
'Twas but like generous Falcons, when high flown,
Which mount to make the Quarrey more their own.
For thou to Nature had'st joyn'd Art, and skill.
In Thee Ben Johnson still HELD SHAKESPEARE'S QUILL:
A QUILL, RUL'D by sharp Judgement, and such Laws,
As a well studied Mind, and Reason draws.
Thy Lamp was cherish'd with suppolied of Oyle,
Fetch'd from the Romane and the Graecian soyle. (snip)
