Is the elephant with the great trunk, for he eats nothing but what comes through this way. His profession is not so worthy as to occasion insolence, and yet no man so much puft up. His face is as brazen as his trumpet, and (which is worse,) as a fidler's, from whom he differeth only in this, that his impudence is dearer. The sea of drink and much wind make a storm perpetually in his cheeks, and his look is like his noise, blustering and tempestuous. He was whilom the sound of war, but now of peace; yet as terrible as ever, for wheresoever he comes they are sure to pay for it. He is the common attendant of glittering folks, whether in the court or stage, where he is always the prologue's prologue.[1] He is somewhat in the nature of a hogshead, shrillest when he is empty; when his belly is full he is quiet enough. No man proves life more to be a blast, or himself a bubble, and he is like a counterfeit bankrupt, thrives best when he is blown up.
FOOTNOTE:
[1] The prologue to our ancient dramas was ushered in by trumpets. "Present not yourselfe on the stage (especially at a new play) untill the quaking prologue hath (by rubbing) got cullor into his cheekes, and is ready to giue the trumpets their cue that hee's vpon point to enter." Decker's
Gul's Hornbook, 1609. p. 30.
"Doe you not know that I am the Prologue? Do you not see this long blacke veluet cloke vpon my backe?
Haue you not sounded thrice? " Heywood's
Foure Prentises of London. 4to. 1615.
[The end]
John Earle's essay: Trumpeter