Pictor adumbravit Vultum quem cernimus. aft hic Non valet egregias pingere mentis Opes Has si feire cupis, sua consule Carmina, in illis Dotes percipies pectoris eximias. What heere wee fee is but a Graven face. Onely the fhaddow of that brittle cafe Wherin were treafur'd up those Gemms, which he Hath left behind him to Posteritic. AlRef

W.MSculp

Francis Quarles.

next keeps at home (like him), and dares not show his head, he calls that an Ode.

Tab. Nay, they mock'd and fleer'd at us as we sung the Psalm the last Sunday night.

Cutt. That was that mongrel Rhymer, by this light, he envies his brother Poet honest John Sternhold, because he cannot reach his heights

Dogg. (reciting his own verses). Thus pride doth still with beauty dwell,

And like the Baltic ocean swell. Blade. Why the Baltic, Doggrell?

Dogg. Why the Baltic !-that 'tis not to have read the poets.

She looks like Niobe on the mountain's top. Cutt. That Niobe, Doggrell, you have used worse than Phoebus did. Not a dog looks melancholy but he's compared to Niobe. He beat a villainous tapster t' other day; to make him look like Niobe.

contains the character of a foolish poet omitted in the latter. I give a few scraps of this character, both because the Edition is scarce, and as furnishing no unsuitable corollary to the critical admonitions in the preceding extract. The "Cutter" has always appeared to me the link between the comedy of Fletcher and of Congreve. In the elegant passion of the love scenes it approaches the former and Puny (the character substituted for the omitted poet) is the prototype of the half-witted wits, the Brisks and Dapperwits, of the latter.

1 Changes, by Shirley, preceded this in the original edition.

HEY FOR HONESTY, A COMEDY:
By T. RANDOLPH, 1651.

To Plutus.

DID not Will Summers break his wind for thee?
And Shakespeare therefore writ his comedy?
All things acknowledge thy vast power divine,
Great God of Money, whose most powerful shine
Gives motion, life; day rises from thy sight,
Thy setting, though at noon, makes pitchy night.
Sole catholic cause of what we feel and see,
All in this all are but the effects of thee.

Riches above poverty; a syllogism.

My major, That which is most noble, is worse honourable. But poverty is more noble. My minor I prove thus. Whose houses are most ancient, those are most noble. But poverty's houses are most ancient; for some of them are so old, like vicarage houses, they are every hour in danger of falling.

Stationer's Preface before the Play.

Reader, this is a pleasant comedy, though some may judge it satirical, 'tis the more like Aristophanes, the father; besides, if it be biting, 'tis a biting age we live in; then biting for biting. Again, Tom Randal, the adopted son of Ben Jonson, being the translator hereof, followed his father's steps. They both of them loved sack, and harmless mirth, and here they show it; and I, that know myself, am not averse from it neither. This I thought good to acquaint thee with. Farewell. Thine, F. J.