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'Wod I were hang'd, if I can call you any names but Captaine and Tucca. Tuc. 'No, fye'st, my name's Hamlet, revenge. Thou hast been at Parris Garden, hast not? Hor. 'Yes, Captaine, I ha plaide Zulziman there'"; with which may be compared another passage in Westward Hoe, 1607 "I, but when light wives make heavy husbands, let these husbands play mad Hamlet and crie, revenge."
Before his death he gave instructions that his epic should be burned and that his executors, his life-long friends Varius and Tucca, should suppress whatever of his manuscripts he had himself failed to publish. In order to save the Aeneid, however, Augustus interposed the supreme authority of the state to annul that clause of the will. The minor works were probably left unpublished for some time.
When they delayed, he began to disdain them; and he was further elated by a cow, as they say, that uttered human speech bidding him lay hold of the prize before him, and by a dream in which a bull that had been buried in the city of Tucca seemed to urge him to dig up its head and carry it about on a spear-shaft, since by this means he should conquer.
34: In Satiromastix, Captain Tucca once bawls out against Horace, 'My name's Hamlet Revenge! as if it had become known already then in the dramatic world that Shakspere was preparing his reply to The Poetaster. Nobody comes at us, not a gentleman, nor a In the same scene Tucca utters curses, before that player, against the theatres on the other side of the Tiber.
For my own part, I am rather of the opinion that they were added by Tucca and Varius, than retrenched. I know it may be answered by such as think Virgil the author of the four lines that he asserts his title to the "AEneis" in the beginning of this work, as he did to the two former, in the last lines of the fourth Georgic.
Let us give a few instances of the lampoons and calumnious squibs by which Horace pretends having been insulted on the part of envious colleagues who, he maintains, look askance at him because 'he keeps more worthy gallants' company' than they can get into. In act iv. sc. I, Demetrius tells Tucca:
Several of the Catalepton may belong to this period. The very first, addressed to Vergil's lifelong friend Plotius Tucca, is an amusing trifle in the very vein of Philodemus. The fourth, like the first in elegiacs, is a gracious tribute to a departing friend, Musa, perhaps his fellow-townsman Octavius Musa.
Of his estate, which was very considerable by the liberality of his friends, he left the greater part to Valerius Proculus and his brother, a fourth to Augustus, a twelfth to Mecaenas, besides legacies to L. Varius and Plotius Tucca, who, in consequence of his own request, and the command of Augustus, revised and corrected the Aeneid after his death.
In Kyd's Spanish Tragedy, and in Ben Jonson's The Case is Altered, mention is made of the Italian improvised comedy, and a few of the well-known types of character in the dramatic literature of the time bear distinct traces of having been influenced by Italian masks, e.g., Ralph Roister Doister in Udall's comedy of that name; as well as the splendid Captain Bobadill and his no less amusing companion, Captain Tucca, in Ben Jonson's Every Man in his Humour and The Poetaster, all of which are reproductions of the typical capitano.
Of Plotius Tucca we know little except that he is called a poet, was a constant member of the circle, and with Varius the literary executor who published Vergil's works after his death. Quintilius Varus had, like Varius, come from Cremona, known Catullus intimately, and, if we accept the view of Servius for the sixth Eclogue, had been Vergil's most devoted companion in Siro's school.
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