[COLLIER'S PREFACE.]

[Thomas Nash, son of William Nash, minister, and Margaret his wife, was baptized at Lowestoft, in Suffolk, in November 1567.[1] He was admitted a scholar at St John's College, Cambridge, on the Lady Margaret's foundation, in 1584, and proceeded B.A. in 1585:] the following is a copy of the Register:—

"Tho. Nashe Coll. Joh. Cantab. A.B. ib. 1585." The place, though not the time, of his birth[2] we have under his own authority, for in his "Lenten Stuff," printed in 1599, he informs us that he was born at Lowestoft; and he leads us to conclude that his family was of some note, by adding that his "father sprang from the Nashes of Herefordshire."[3]

It does not appear that Nash ever proceeded Master of Arts at Cambridge, and most of his biographers agree that he left his college about 1587. It is evident, however, that he had got into disgrace, and probably was expelled; for the author of "England to her three Daughters" in "Polimanteia," 1595, speaking of Harvey and Nash, and the pending quarrel between them, uses these terms: "Cambridge make thy two children friends: thou hast been unkind to the one to wean him before his time, and too fond upon the other to keep him so long without preferment: the one is ancient and of much reading; the other is young, but full of wit."[4] The cause of his disgrace is reported to have been the share he took in a piece called "Terminus et non Terminus," not now extant; and it is not denied that his partner in this offence was expelled. Most likely, therefore, Nash suffered the same punishment.

If Nash be the author of "An Almond for a Parrot," of which there is little doubt, although his name is not affixed to it, he travelled in Italy;[5] and we find from another of his pieces that he had been in Ireland. Perhaps he went abroad soon after he abandoned Cambridge, and before he settled in London and became an author. His first appearance in this character seems to have been in 1589, and we believe the earliest date of any tract attributed to him relating to Martin Marprelate is also 1589.[6] He was the first, as has been frequently remarked, to attack this enemy of the Church with the keen missiles of wit and satire, throwing aside the lumbering and unserviceable weapons of scholastic controversy. Having set the example in this respect, he had many followers and imitators, and among them John Lily, the dramatic poet, the author of "Pap with a Hatchet."

In London Nash became acquainted with Robert Greene, and their friendship drew him into a long literary contest with Gabriel Harvey, to which Nash owes much of his reputation. It arose out of the posthumous attack of Harvey upon Robert Greene, of which sufficient mention has been made elsewhere. Nash replied on behalf of his dead companion, and reiterated the charge which had given the original offence to Harvey, viz., that his brother was the son of a ropemaker.[7] One piece was humorously dedicated to Richard Litchfield, a barber of Cambridge, and Harvey answered it under the assumed character of the same barber, in a tract called "The Trimmino of Thomas Nash,"[8] which also contained a woodcut of a man in fetters. This representation referred to the imprisonment of Nash for an offence he gave by writing a play (not now extant) called "The Isle of Dogs," and to this event Francis Meres alludes in his "Palladia Tamia," 1598, in these terms: "As Actaeon was worried of his own hounds, so is Tom Nash of his 'Isle of Dogs.' Dogs

were the death of Euripides; but be not disconsolate, gallant young Juvenal; Linus, the son of Apollo, died the same death. Yet God forbid, that so brave a wit should so basely perish!—Thine are but paper dogs; neither is thy banishment like Ovid's eternally to converse with the barbarous Getes. Therefore comfort thyself, sweet Tom, with Cicero's glorious return to Rome, and with the council Aeneas gives to his sea-beaten soldiers." Lib. I. Aeneid.

"Pluck up thine heart, and drive from thence both fear and care away: To think on this may pleasure be, perhaps, another day."

—Durato, et temet rebus servato secundis. (fol. 286.)

This was in part verified in the next year, for when Nash published his "Lenten Stuff," he referred with apparent satisfaction to his past troubles in consequence of his "Isle of Dogs."[9]

So much has been said, especially by Mr D'Israeli in his "Quarrels of Authors," on the subject of this dispute between Nash and Harvey, that it is unnecessary to add anything, excepting that it was carried to such a length, and the pamphlets contained so much scurrility, that it was ordered from authority in 1599 that all the tracts on both sides should be seized and suppressed.[10]

As with Greene, so with Nash, an opinion on his moral conduct and general deportment has been too readily formed from the assertions of his opponents; and because Gabriel Harvey, to answer a particular purpose, states, "You may be in one prison to-day and in another to-morrow," it has been taken for granted, that "after his arrival in London, he was often confined in different jails." No doubt, he and his companions Greene, Marlowe, and Peele, led very disorderly lives, and it is singular that all four died prematurely, the oldest of them probably not being forty years of age. It is certain that Nash was not living at the time when the "Return from Parnassus" was produced, which, though not printed until 1606, was written before the end of the reign of Elizabeth: his ashes are there spoken of as at rest, but the mention of him as dead, nearest to the probable date of that event, is to be found in [Fitzgeoffrey's "Affaniae," 1601, where an epitaph upon him is printed. His name also occurs in] an anonymous poem, under the title of

"The Ant and the Nightingale, or Father Hubbard's Tales," 1604, where the following stanza is met with—

"Or if in bitterness thou rail like Nash: Forgive me, honest soul, that term thy phrase Railing; for in thy works thou wert not rash, Nor didst affect in youth thy private praise. Thou hadst a strife with that Tergemini;[11] Thou hurt'dst them not till they had injured thee."[12]

The author of a MS. epitaph, in "Bibl. Sloan," Pl. XXI. A. was not so squeamish in the language he employed—

"Here lies Tom Nash, that notable railer, That in his life ne'er paid shoemaker nor tailor."

The following from Thomas Freeman's Epigrams, 1614, is not out of its place—

OF THOMAS NASH.

"Nash, had Lycambes on earth living been The time thou wast, his death had been all one; Had he but mov'd thy tartest Muse to spleen Unto the fork he had as surely gone: For why? there lived not that man, I think, Us'd better or more bitter gall in ink."

It is impossible in the present day to attempt anything like a correct list of the productions of Nash, many of which were unquestionably printed without his name:[13] the titles of and quotations from a great number may be found in the various bibliographical miscellanies, easily accessible. When he began to write cannot be ascertained, but it was most likely soon after his return from the Continent, and the dispute between John Penry and the Bishops seems then to have engaged his pen.[14] There is one considerable pamphlet by him, called "Christ's Tears over Jerusalem," printed in 1593, which, like some of the tracts by Greene, is of a repentant and religious character; and it has been said that, though published with his name, it was not in fact his production. There is no sufficient ground for this supposition, and Nash never subsequently disowned the performance: the address "To the Reader" contains an apology to Gabriel Harvey for the attack upon him, in terms that seem to vouch for their own sincerity. "Nothing (says Nash) is

there now so much in my vows as to be at peace with all men, and make submissive amends where I most displeased; not basely fear-blasted, or constraintively overruled, but purely pacificatory: suppliant for reconciliation and pardon do I sue to the principallest of them 'gainst whom I professed utter enmity; even of Master Doctor Harvey I heartily desire the like, whose fame and reputation (through some precedent injurious provocations and fervent excitements of young heads) I rashly assailed: yet now better advised, and of his perfections more confirmedly persuaded, unfeignedly I entreat of the whole world from my pen his worth may receive no impeachment. All acknowledgments of abundant scholarship, courteous, well-governed behaviour, and ripe, experienced judgment do I attribute to him."

We have already seen with what malignity Harvey trampled upon the corpse of Greene, and he received this apology of Nash in a corresponding spirit; for instead of accepting it, in his "New Letter of Notable Contents," 1593, he rejects it with scorn: "Riotous vanity (he replies) was wont to root so deeply that it could hardly be unrooted; and where reckless impudency taketh possession, it useth not very hastily to be dispossessed. What say you to a spring of rankest villainy in February, and a harvest of ripest divinity in May? But what should we hereafter talk any more of paradoxes or impossibilities, when he that penned the most desperate and abominable pamphlet of 'Strange News,' and disgorged his stomach of as poisonous rancour as ever was vomited in print, within few months is won, or charmed, or enchanted, (or what metamorphosis should I term it?) to astonish carnal minds with spiritual meditations," &c. Such a reception of well-intended and eloquently-written amends was enough to make Nash repent even his repentance, as far as Gabriel Harvey was concerned.[15]

Of the popularity of Nash as a writer some notion may be formed from a fact he himself mentions in his "Have with you to Saffron Walden," that between 1592, when his "Pierce Penniless, his Supplication to the Devil" was first printed, and 1596 it "passed through the pikes of at least six impressions." How long his reputation as a satirist survived him may be judged from the fact that in 1640 Taylor the Water Poet published a tract, which had for its second title "Tom Nash, his Ghost (the old Martin queller), newly rouz'd:" and in Mercurius Anti-pragmaticus, from Oct. 12 to Oct. 19, 1647, is the following passage: "Perhaps you will be angry now, and when you steal forth disguised, in your next intelligence thunder forth threatenings against me, and be as satirical in your language as ever was your predecessor Nash, who compiled a learned treatise in the praise of a red herring."

Only two plays in which Nash had any concern have come down to us: his "Isle of Dogs," before noticed, was probably never printed, or at all events it is not now known to exist. He wrote alone—

(1.) A pleasant Comedy called "Summer's Last Will and Testament." 1600. 4to.

In conjunction with Marlowe he produced—

(2.) "The Tragedy of Dido, Queen of Carthage," played by the children of her Majesty's chapel. 1594. 4to.

Phillips, in his "Theatrum Poetarum," also assigned to Nash, "See me, and see me not," a comedy, which may be a different play, and not, as has been generally supposed, "Hans Beer Pot;" because, the name of the author, Dawbridgecourt Belchier, being subscribed to the dedication, such a mistake could not easily be made.

DRAMATIS PERSONAE.

WILL SUMMER. VER. SUMMER. AUTUMN. WINTER. CHRISTMAS, | Sons to WINTER. BACKWINTEB. | SOL. SOLSTITIUM. VERTUMNUS. ORION. BACCHUS. HARVEST. SATIRES. NYMPHS. Three CLOWNS. Three MAIDS. HUNTERS. REAPERS. MORRIS DANCERS. BOY to speak the Epilogue.

SUMMER'S LAST WILL AND TESTAMENT.[16]

Enter WILL SUMMER,[17] in his fool's coat but half on, coming out.

Noctem peccatis et fraudibus objice nubem.[18] There is no such fine time to play the knave in as the night. I am a goose or a ghost, at least; for what with turmoil of getting my fool's apparel, and care of being perfect, I am sure I have not yet supp'd to-night. Will Summer's ghost I should be, come to present you with "Summer's Last Will and Testament." Be it so; if my cousin Ned will lend me his chain and his fiddle. Other stately-pac'd Prologues use to attire themselves within: I that have a toy in my head more than ordinary, and use to go without money, without garters, without girdle, without hat-band, without points to my hose, without a knife to my dinner, and make so much use of this word without in everything, will here dress me without. Dick Huntley[19] cries, Begin, begin: and all the whole house, For shame, come away; when I had my things but now brought me out of the laundry. God forgive me, I did not see my Lord before! I'll set a good face on it, as though what I had talk'd idly all this while were my part. So it

is, boni viri, that one fool presents another; and I, a fool by nature and by art, do speak to you in the person of the idiot of our play-maker. He, like a fop and an ass, must be making himself a public laughingstock, and have no thank for his labour; where other Magisterii, whose invention is far more exquisite, are content to sit still and do nothing. I'll show you what a scurvy Prologue he had made me, in an old vein of similitudes: if you be good fellows, give it the hearing, that you may judge of him thereafter.

THE PROLOGUE.

At a solemn feast of the Triumviri in Rome, it was seen and observed that the birds ceased to sing, and sat solitary on the housetops, by reason of the sight of a painted serpent set openly to view. So fares it with us novices, that here betray our imperfections: we, afraid to look on the imaginary serpent of envy, painted in men's affections, have ceased to tune any music of mirth to your ears this twelvemonth, thinking that, as it is the nature of the serpent to hiss, so childhood and ignorance would play the gosling, contemning and condemning what they understood not. Their censures we weigh not, whose senses are not yet unswaddled. The little minutes will be continually striking, though no man regard them: whelps will bark before they can see, and strive to bite before they have teeth. Politianus speaketh of a beast who, while he is cut on the table, drinketh and represents the motions and voices of a living creature. Such like foolish beasts are we who, whilst we are cut, mocked, and flouted at, in every man's common talk, will

notwithstanding proceed to shame ourselves to make sport. No man pleaseth all: we seek to please one. Didymus wrote four thousand books, or (as some say) six-thousand, on the art of grammar. Our author hopes it may be as lawful for him to write a thousand lines of as light a subject. Socrates (whom the oracle pronounced the wisest man of Greece) sometimes danced: Scipio and Laslius, by the sea-side, played at peeble-stone: Semel insanivimus omnes. Every man cannot with Archimedes make a heaven of brass, or dig gold out of the iron mines of the law. Such odd trifles as mathematicians' experiments be artificial flies to hang in the air by themselves, dancing balls, an egg-shell that shall climb up to the top of a spear, fiery-breathing gores, poeta noster professeth not to make. Placeat sibi quinque licebit. What's a fool but his bauble? Deep-reaching wits, here is no deep stream for you to angle in. Moralisers, you that wrest a never-meant meaning out of everything, applying all things to the present time, keep your attention

for the common stage; for here are no quips in characters for you to read. Vain glosers, gather what you will; spite, spell backward what thou canst. As the Parthians fight flying away, so will we prate and talk, but stand to nothing that we say.

How say you, my masters? do you not laugh at him for a coxcomb? Why, he hath made a prologue longer than his play: nay, 'tis no play neither, but a show. I'll be sworn the jig of Rowland's godson is a giant in comparison of it. What can be made of Summer's last will and testament! Such another thing as Gyllian of Brentford's[20] will, where she bequeathed a score of farts amongst her friends. Forsooth, because the plague reigns in most places in this latter end of summer,[21] Summer must come in sick; he must call his officers to account, yield his throne to Autumn, make Winter his executor, with tittle-tattle Tom-boy. God give you good night in Watling Street; I care not what you say now, for I play no more than you hear; and some of that you heard too (by your leave) was extempore. He were as good have let me had the best part, for I'll be revenged on him to the uttermost, in this person of Will Summer, which I have put on to play the prologue, and mean not to put it off till the play be done. I'll sit as a chorus, and flout the

actors and him at the end of every scene. I know they will not interrupt me, for fear of marring of all; but look to your cues, my masters, for I intend to play the knave in cue, and put you besides all your parts, if you take not the better heed. Actors, you rogues, come away; clear your throats, blow your noses, and wipe your mouths ere you enter, that you may take no occasion to spit or to cough, when you are non plus. And this I bar, over and besides, that none of you stroke your beards to make action, play with your cod-piece points, or stand fumbling on your buttons, when you know not how to bestow your fingers. Serve God, and act cleanly. A fit of mirth and an old song first, if you will.

Enter SUMMER, leaning on AUTUMN'S and WINTER'S shoulders, and attended on with a train of Satyrs and Wood-nymphs, singing.[22]

_Fair Summer droops, droop men and beasts therefore, So fair a summer look for never more: All good things vanish less than in a day, Peace, plenty, pleasure, suddenly decay. Go not yet away, bright soul of the sad year, The earth is hell when thou, leav'st to appear.

What! shall those flowers that deck'd thy garland erst, Upon thy grave be wastefully dispersed? O trees, consume your sap in sorrow's source, Streams turn to tears your tributary course. Go not yet hence, bright soul of the sad year, The earth is hell when thou leav'st to appear.

[The Satyrs and Wood-nymphs go out singing, and leave_ SUMMER and WINTER and AUTUMN on the stage.

WILL SUM. A couple of pretty boys, if they would wash their faces, and were well breech'd[23] in an hour or two. The rest of the green men have reasonable voices, good to sing catches or the great Jowben by the fire's side in a winter's evening. But let us hear what Summer can say for himself, why he should not be hiss'd at.

SUM. What pleasure always lasts? no joy endures: Summer I am; I am not what I was; Harvest and age have whiten'd my green head; On Autumn now and Winter I must lean. Needs must he fall, whom none but foes uphold, Thus must the happiest man have his black day. Omnibus una manet nox, et calcanda semel via lethi.[24] This month have I lain languishing a-bed, Looking each hour to yield my life and throne; And died I had indeed unto the earth, But that Eliza, England's beauteous Queen, On whom all seasons prosperously attend, Forbad the execution of my fate, Until her joyful progress was expir'd.[25] For her doth Summer live, and linger here, And wisheth long to live to her content: But wishes are not had, when they wish well: I must depart, my death-day is set down; To these two must I leave my wheaten crown. So unto unthrifts rich men leave their lands, Who in an hour consume long labour's gains. True is it that divinest Sidney sung, 0, he is marr'd, that is for others made. Come near, my friends, for I am near my end. In presence of this honourable train,

Who love me, for I patronise their sports, Mean I to make my final testament: But first I'll call my officers to 'count, And of the wealth I gave them to dispose, Know what is left I may know what to give Vertumnus, then, that turn'st the year about, Summon them one by one to answer me. First, Ver, the Spring, unto whose custody I have committed more than to the rest; The choice of all my fragrant meads and flowers, And what delights soe'er nature affords.

VER. I will, my lord. Ver, lusty Ver, by the name of lusty Ver, come into the court! lose a mark in issues.