Dekker translated both works into English, but with many alterations, so numerous indeed, especially in the last, that his book may be considered almost original.[304] He called it "The Guls Horne-booke," or alphabet. He gives in it a lively description of the humours of gallants in the time of Shakespeare, of the places they used to frequent, and the company they liked to meet. Grobianism differs from the picaresque tale by the absence of a story connecting the various scenes, but it resembles it in the opportunity it affords for describing a variety of characters, humours, and places. In the same way as we follow the picaro in the houses of his several masters, we here follow the gallant from his rooms to his ordinary, and from St. Paul's to the play. We climb with him to the top of the cathedral, we show our new garments in the walks, meet courtiers, soldiers and poets at dinner, stroll at night in the dark streets of the city and fall in with the watch. Here, again, Dekker paints from life scenes with which he was familiar, and we have but to follow his footsteps to become acquainted with the haunts of the Bohemians of his time, and of the great men too, of Jonson and Shakespeare themselves. The scene at the theatre is the most original and lively of all. The serio-comic advice to the gallant how he "should behave himself in a playhouse"[305] is a perfect picture of what was daily taking place, be the play Shakespeare's "Hamlet" or Dekker's "Patient Grissil."[306] Of course the gallant must sit on the stage and "on the very rushes," which in the theatre, and also in palaces and houses, continued as in the Middle Ages to serve for carpets;[307] he will not care for the disapprobation of the groundlings, but must plant himself valiantly, "beating downe the mewes and hisses of opposed rascality. "For do but cast up a reckoning; what large commings-in are pursd up by sitting on the stage? First a conspicuous eminence is gotten; by which meanes, the best and most essencial parts of a gallant (good cloathes, a proportionable legge, white hand, the Persian lock, and a tollerable beard), are perfectly revealed." Of course you must choose with the greatest care your time to come in. "Present not your selfe on the stage especially at a new play until the quaking Prologue hath, by rubbing, got [colour] into his cheekes and is ready to give the trumpets their cue that hees upon point to enter; for then it is time, as though you were one of the properties, or that you dropt out of ye hangings, to creepe from behind the arras, with your tripos or three-footed stoole in one hand and a teston (_i.e._, six pence) mounted betweene a forefinger and a thumbe in the other; for if you should bestow your person upon the vulgar when the belly of the house is but halfe full, your apparell is quite eaten up, the fashion lost ..."[308]