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If any character could be spared it is the "Angry Boy," a young person whose humours, as Jonson himself admits of another character elsewhere, are "more tedious than diverting." The Alchemist was followed by Catiline, and Catiline by Bartholomew Fair, a play in which singularly vivid and minute pictures of manners, very amusing sketches of character, and some capital satire on the Puritans, do not entirely redeem a profusion of the coarsest possible language and incident. The Devil is an Ass comes next in time, and though no single character is the equal of Zeal-of-the-land Busy in Bartholomew Fair, the play is even more amusing. The four last plays, The Staple of News, The Magnetic Lady, The New Inn, and The Tale of a Tub, which Jonson produced after long absence from the stage, were not successful, and were both unkindly and unjustly called by Dryden "Ben's dotages." As for the charming Sad Shepherd, it was never acted, and is now unfinished, though it is believed that the poet completed it. It stands midway as a pastoral Féerie between his regular plays and the great collection of ingenious and graceful masques and entertainments, which are at the top of all such things in England (unless Comus be called a masque), and which are worth comparing with the ballets and spectacle pieces of Molière. Perhaps a complete survey of Jonson's work indicates, as his greatest defect, the want of passion. He could be vigorous, he could be dignified, he could be broadly humorous, and, as has been said, he could combine with these the apparently incompatible, or, at least, not closely-connected faculty of grace. Of passion, of rapture, there is no trace in him, except in the single instance—in fire mingled with earth—of Sir Epicure Mammon. But the two following passages—one from Sejanus, one from The Sad Shepherd—will show his dignity and his pathos. No extract in brief could show his humour:—
Arr.    "I would begin to study 'em,[34] if I thought
They would secure me. May I pray to Jove
In secret and be safe? ay, or aloud,
With open wishes, so I do not mention
Tiberius or Sejanus? Yes I must,
If I speak out. 'Tis hard that. May I think
And not be racked? What danger is't to dream,
Talk in one's sleep or cough? Who knows the laws?
May I shake my head without a comment? Say
It rains, or it holds up, and not be thrown
Upon the Gemonies? These now are things,
Whereon men's fortune, yea, their fate depends.
Nothing hath privilege 'gainst the violent ear.
No place, no day, no hour, we see, is free,
Not our religious and most sacred times
From some one kind of cruelty: all matter,
Nay, all occasion pleaseth. Madmen's rage,
The idleness of drunkards, women's nothing,
Jester's simplicity, all, all is good
That can be catcht at. Nor is now the event
Of any person, or for any crime
To be expected; for 'tis always one:
Death, with some little difference of place
Or time. What's this? Prince Nero, guarded!"

[34] To wit the "arts" of suffering and being silent, by which his interlocutor Lepidus has explained his own safety from delation.

Æg.    "A spring, now she is dead! of what? of thorns,
Briars and brambles? thistles, burs and docks?
Cold hemlock, yews? the mandrake, or the box?
These may grow still: but what can spring beside?
Did not the whole earth sicken when she died
As if there since did fall one drop of dew,
But what was wept for her! or any stalk
Did bear a flower, or any branch a bloom,
After her wreath was made! In faith, in faith,
You do not fair to put these things upon me,
Which can in no sort be: Earine
Who had her very being and her name
With the first knots or buddings of the spring,
Born with the primrose and the violet
Or earliest roses blown: when Cupid smiled
And Venus led the Graces out to dance,
And all the flowers and sweets in nature's lap
Leaped out and made their solemn conjuration
To last but while she lived! Do not I know
How the vale withered the same day? how Dove,
Dean, Eye, and Erwash, Idel, Snite and Soare
Each broke his urn, and twenty waters more
That swelled proud Trent, shrunk themselves dry, that since
No sun or moon, or other cheerful star,
Looked out of heaven, but all the cope was dark
As it were hung so for her exequies!
And not a voice or sound to ring her knell
But of that dismal pair, the screeching owl
And buzzing hornet! Hark! hark! hark! the foul
Bird! how she flutters with her wicker wings!
Peace! you shall hear her screech.
Cla.    Good Karolin, sing,
Help to divert this phant'sy.
Kar.    All I can:
Sings while Æg. reads the song.
'Though I am young and cannot tell
Either what Death or Love is well,
Yet I have heard they both bear darts
And both do aim at human hearts:
And then again, I have been told,
Love wounds with heat, as Death with cold;
So that I fear they do but bring
Extremes to touch and mean one thing.
'As in a ruin we it call
One thing to be blown up, or fall;
Or to our end, like way may have,
By a flash of lightning or a wave:
So Love's inflamèd shaft or brand
May kill as soon as Death's cold hand,
Except Love's fires the virtue have
To fright the frost out of the grave.'"

Of no two contemporary men of letters in England can it be said that they were, intellectually speaking, so near akin as Ben Jonson and George Chapman. The translator of Homer was a good deal older than Jonson, and exceedingly little is known of his life. He was pretty certainly born near Hitchin in Hertfordshire, the striking situation of which points his reference to it even in these railroad days. The date is uncertain—it may have been 1557, and was certainly not later than 1559—so that he was the oldest of the later Elizabethan school who survived into the Caroline period. He perhaps entered the University of Oxford in 1574. His first known work, The Shadow of Night, dates from 1594; and a reference of Meres's shows that he was known for tragedy four years later. In 1613 he, Jonson (a constant friend of his whose mutual fidelity refutes of itself the silly calumnies as to Jonson's enviousness, for of Chapman only, among his colleagues, was he likely to be jealous), and Marston were partners in the venture of Eastward Ho! which, for some real or fancied slight on Scotland, exposed the authors to danger of the law. He was certainly a protégé of Prince Henry, the English Marcellus, and he seems to have received patronage from a much less blameless patron, Carr, Earl of Somerset. His literary activity was continuous and equal, but it was in his later days that he attempted and won the crown of the greatest of English translators. "Georgius Chapmannus, Homeri metaphrastes" the posy of his portrait runs, and he himself seems to have quite sunk any expectation of fame from his original work in the expectation of remembrance as a translator of the Prince of Poets. Many other interesting traits suggest, rather than ascertain, themselves in reference to him, such as his possible connection with the early despatch of English troupes of players to Germany, and his adoption of contemporary French subjects for English tragedy. But of certain knowledge of him we have very little. What is certain is that, like Drayton (also a friend of his), he seems to have lived remote and afar from the miserable quarrels and jealousies of his time; that, as has been already shown by dates, he was a kind of English Fontenelle in his overlapping of both ends of the great school of English poets; and that absolutely no base personal gossip tarnishes his poetical fame. The splendid sonnet of Keats testifies to the influence which his work long had on those Englishmen who were unable to read Homer in the original. A fine essay of Mr. Swinburne's has done, for the first time, justice to his general literary powers, and a very ingenious and, among such hazardous things, unusually probable conjecture of Mr. Minto's identifies him with the "rival poet" of Shakespere's Sonnets. But these are adventitious claims to fame. What is not subject to such deduction is the assertion that Chapman was a great Englishman who, while exemplifying the traditional claim of great Englishmen to originality, independence, and versatility of work, escaped at once the English tendency to lack of scholarship, and to ignorance of contemporary continental achievements, was entirely free from the fatal Philistinism in taste and in politics, and in other matters, which has been the curse of our race, was a Royalist, a lover, a scholar, and has left us at once one of the most voluminous and peculiar collections of work that stand to the credit of any literary man of his country. It may be that his memory has gained by escaping the danger of such revelations or scandals as the Jonson confessions to Drummond, and that the lack of attraction to the ordinary reader in his work has saved him from that comparison which (it has perhaps been urged ad nauseam) is the bane of just literary judgment. To those who always strive to waive all such considerations, these things will make but little difference.

The only complete edition of Chapman's works dates from our own days, and its three volumes correspond to a real division of subject. Although, in common with all these writers, Chapman has had much uncertain and some improbable work fathered on him, his certain dramas supply one of the most interesting studies in our period. As usual with everyone except Shakespere and (it is a fair reason for the relatively disproportionate estimate of these so long held) Beaumont and Fletcher, they are extremely unequal. Not a certain work of Chapman is void of interest. The famous Eastward Ho! (one of the liveliest comedies of the period dealing with London life) was the work of three great writers, and it is not easy to distribute its collaboration. That it is not swamped with "humours" may prove that Jonson's learned sock was put on by others. That it is neither grossly indecent nor extravagantly sanguinary, shows that Marston had not the chief hand in it, and so we are left to Chapman. What he could do is not shown in the list of his own certain plays till All Fools. The Blind Beggar of Alexandria (1596?) and An Humorous Day's Mirth show that singular promiscuousness—that heaping together of scenes without order or connection—which we have noticed in the first dramatic period, not to mention that the way in which the characters speak of themselves, not as "I" but by their names in the third person, is also unmistakable. But All Fools is a much more noteworthy piece, and though Mr. Swinburne may have praised it rather highly, it would certainly take place in a collection

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