There was Kempe, the low comedian, who succeeded Tarlton in that line. He was a great dancer: on one occasion he danced all the way from Norwich to London, taking nine days for the work: he was accompanied by one Thomas Sly, who played the tabor and the pipe for him. As he passed through the villages the girls came running out to dance with him along the road till he tired them out. He was a fellow of infinite drollery, with jokes and acting such as pleased the 'groundlings' well. There was a kind of entertainment popular at the time called a jig. It was a monologue for the most part, but might be played by two or more, in which the words were interrupted by songs and dances: the jig was like the farce which used to be played after the tragedy. This worthy lived in Bankside, but I believe there is no record of his death. Another excellent player was John Lowin or Lewin. He also lived in the Liberty of the Clink. But he lived too long. He survived the suppression of Theatres, and in his old age had no craft or art or mastery by which to earn his bread save that which was proscribed. He wrote for assistance to a patron, and he quoted the lover's words applied to the beggar: Silence in love betrays more woe Than words, though ne'er so witty; The beggar that is dumb, you know, Deserves a double pity. Among the low comedians Robert Armin must not be forgotten. He attracted Tarlton's attention when a mere boy. The veteran comedian adopted him and taught him. I know not whether he, or Kempe, was the true successor to that unrivalled buffoon. He is described by some rhymester as-- Honest gamesome Robert Armin, That tickles the spleen like a harmless vermin. I have already mentioned Nathan Field the player: he was also Nathan Field the dramatist. He brought into the latter profession the carelessness about money that belonged to the former. There are indications--only indications, it is true--that there was in him something of the temperament of a Micawber, or a Harold Skimpole, a constitutional inability to understand the meaning of addition and subtraction or the translation of money into its equivalent in eating and drinking. He took a wife when he was no longer quite young, and he became jealous. Hence the epigram, 'De Agello et Othello:' Field is, in sooth, an actor: all men know it; And is the true Othello of the poet: I wonder if 'tis true, as people tell us, That like the character he is most jealous. If it be so, and many living sweare it, It takes not little from the actor's merit, Since, as the Moor is jealous of his wife, Field can display the passion to the life.