His Humour,” is Jonson’s self-complaisant portrait of himself, the just, wholly admirable, and judicious scholar, holding his head high above the pack of the yelping curs of envy and detraction, but careless of their puny attacks on his perfections with only too mindful a neglect. The third and last of the “comical satires” is “Poetaster,” acted, once more, by the Children of the Chapel in 1601, and Jonson’s only avowed contribution to the fray. According to the author’s own account, this play was written in fifteen weeks on a report that his enemies had entrusted to Dekker the preparation of “Satiromastix, the Untrussing of the Humorous Poet,” a dramatic attack upon himself. In this attempt to forestall his enemies Jonson succeeded, and “Poetaster” was an immediate and deserved success. While hardly more closely knit in structure than its earlier companion pieces, “Poetaster” is planned to lead up to the ludicrous final scene in which, after a device borrowed from the “Lexiphanes” of Lucian, the offending poetaster, Marston-Crispinus, is made to throw up the difficult words with which he had overburdened his stomach as well as overlarded his vocabulary. In the end Crispinus with his fellow, Dekker-Demetrius, is bound over to keep the peace and never thenceforward “malign, traduce, or detract the person or writings of Quintus Horatius Flaccus [Jonson] or any other eminent man transcending you in merit.” One of the most diverting personages in Jonson’s comedy is Captain Tucca. “His peculiarity” has been well described by Ward as “a buoyant blackguardism which recovers itself instantaneously from the most complete exposure, and a picturesqueness of speech like that of a walking dictionary of slang.”