element in “Shake-scene” is interchangeable with “dance,” and, when given a specialized meaning with a view to theatrical matters in the year 1592, with Kemp and Shakspere claimants for Greene’s reproof, who could doubt that the name which was so loudly acclaimed is identifiable with the spectacular luminary of the times, William Kemp? In setting up the comic actor and jig-dancer as claimant for Greene’s objurgation, we promise the reader attestative satisfaction by establishing the truth of our contention by particular passages in “the address” when explained by the context as transcriptive of Kemp’s actual history. We now direct the attention of the reader specifically to the arrogant and boastful comedian, William Kemp. This man, according to Robert Greene’s view, was the personification of everything detestable in the actor—whose profession he despised. We think the biographers and commentators have mistaken the spectacularity of William Kemp for the rising sun of William Shakspere. In the closing years of the sixteenth, and the early years of the seventeenth, century there lived in London the most spectacular comic actor and clown of his day, the greatest “Shake-scene” or (dance-scene) of his generation, William Kemp, the worthy successor of Dick Tarlton. He had a continental reputation in 1589. This year also Nash dedicated to Kemp one of his attacks upon Martin Marprelate entitled “An Almond for a Parrot.” “There is ample contemporary evidence that Kemp was the greatest comic actor of his time in England, and his notoriety as a morris-dancer was so great that his journeyings were called dances. He was the court favorite famous for his improvisions, and loved by the public,” but hated by academic play-writers and ridiculed by ballad-makers. Kemp, in giving his first pamphlet “The Nine Days Wonder” to the press in 1599, turned upon his enemies and in retaliation called them “Shake-rags,” which he used derisively and as contumeliously as Greene had used “Shake-scene.” The use of the word “Shake-rags” by Kemp in his first and only published work is _prima-facie_ evidence, that he also made use of the same term, orally and in his usual acrimonious manner, either against Greene, or those of his fellowship. The first element in the compound words “Shake-scene” and “Shake-rags” is governed by the same general law of movement or rhythmic action exemplified in dancing and rhymery. In 1640 Richard Brown in his “Antipodes” refers to the practice of jesters, in the days of Tarlton and Kemp, of introducing their own wit into poet’s plays, Kemp, writing in 1600, asserts that he spent his life in mad jigs and merry jests, although he was entrusted with many leading parts in farce or broad comedy. His dancing of jigs at the close of a play gave him his chief popularity (“Camden Society Papers”). “The jigs were performed to musical accompaniment and included the singing of comic words. One or two actors at times supported Kemp in his entertainment,