course to London, and resorting to the stage for a means of living, became a member of some obscure company, which performed at the Curtain, in Shoreditch. His first attempts at dramatic composition are supposed to have been concurrent with this essay; and, it is reported to us, that he failed at the onset in both aspirations. To complete this state of misery, he fell into a brawl, which ended in a duel, in which he killed his adversary, and was thrown into prison on a charge of murder. Of his fate in confinement, or the means by which he was restored to liberty, no account has been given, and no conjecture hazarded. It is only said, with respect to this passage of his life, that he became a convert to the Church of Rome, while he was in jail, and steadily conformed to that communion during a series of twelve succeeding years.

A tradition has always existed in the history of the drama, that Jonson stood indebted for the success of his earliest plays to suggestions and emendations with which he was favoured by Shakspeare; and thus to keep the story of his life connected, it has been thought probable, that he resorted back to the theatres, as soon as he was discharged from durance, became intimate with Shakspeare, and commenced a regular writer for the stage. How far all this may be true, it is impossible to affirm: the date of his first play is fixed by the suggestion of the critics, in 1598, when he could only have been in the 24th year of his age. If, however, a computation be made of the time which must have been consumed in the fulfilment of those events which have already been stated, this term will appear somewhat precocious, and be still more doubted when it is recollected that his first play was 'Every Man in his Humour,' a comedy of powerful merits, not likely to be the production of immature youth. Leaving the fact as it has been found, it is manifest, from the dates given in the editions of his works, that from this period he was a constant labourer, who suffered scarcely a year to pass without bringing forward something new.

In 1618, he visited France, but why he went, or how long he stopped there, are points alike unknown. After an interval of six years, he is found residing at Christ's Church College, Oxford, where he was created M.A. at a full convocation in the month of July. In the October following he was preferred to the rank of Poet Laureate. It is observable that the pension attached to the

Laurel at this period was a hundred marks a-year, which was encreased to a hundred pounds, and a tierce of Spanish wine, upon the petition of Jonson, in 1630. This augmentation of fortune availed little to his confort or respectability: like other poets he was improvident, and was soon after discovered lodging in an obscure alley, and so sick and poor, that a representation was made in his behalf to Charles the I. The King sent him ten guineas, a frugal donation, which so fired the wrath of the ancient dramatist, that he turned to the messenger and said, “His Majesty has sent me ten guineas because I am poor and live in an alley; but you may go and tell him that his soul lives in an alley." This cynical answer argues ill for the liberality of Charles: it should not therefore be concealed that there is an epigram in Jonson's works, which was written as an acknowledgment for 1007., presented to him by the same king on

occasion.

some other

Such, and so scanty, are the only particulars on record respecting this great writer: it only remains, therefore, to tell that he died of the palsy, on the 16th of August, 1637, and was buried in Westminster Abbey. He collected and printed a part of his works in one volume folio, during the year 1616, and added to them a second volume, which was also published in folio during the year 1631. The first complete edition of his works issued from the press in folio, in 1640, and the last and best was given by Gifford, in 8vo., in 1820.

As the fame of Ben Jonson rests exclusively upon his dramatic pieces, to them alone is the attention of the reader here invited. They amount to no less a number than fifty-three, of which threeand-thirty are masks, written for and represented before the royal family, or high nobility, and not much entitled by their interest or quality to particular description. His regular dramas consist of Every Man in his Humour,' a comedy the most durably popular of all he produced, first acted in 1598, and first printed in 1601. Every Man out of his Humour,' a comical satire, followed, and was first acted in 1599, and first printed in 1600. This performance he also styled a play of characters, and made remarkable by so far adapting it to the Grecian model, as to keep throughout the succession of the scenes a body of interlocutors constantly on the stage, who commented on the plot as it proceeded. ‘Cynthia's

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Revels,' a comical satire, was performed in 1600, before Elizabeth, who was typified in the principal personage. Poetaster, or His Arraignment,' a comical satire, acted in 1601, and printed in 1602, was composed to ridicule his brother dramatists. Scjanus' is a tragedy classical and imposing in a high degree, but not much favoured by the public at the moment of its first representation in 1603, or at any subsequent period. Volpone, or the Fox,' a comedy highly finished in language and characters, and estimated one of the best of his pieces, was first acted in 1605. Epicene, or the Silent Woman,' a capital comedy, acted in 1609, stands highly commended by Dryden for a preservation of the Grecian unities. The Case Altered,' a comedy, appeared at the same date, but presents no distinctive merit, and by some has been pronounced supposititious. The Alchymist,' first played in 1610, is a comedy universally read and admired. Cataline, his Conspiracy,' dated in 1611, is a tragedy of great strength, but infinite declamation. 'Bartholomew Fair,' a comedy, acted in 1614, is remarkable for a great fund of humour, and a host of characters. The Devil is an Ass,' a comedy, was acted in 1616, but not printed until 1640. The Staple of News,' another comedy, was acted in 1625, and printed in 1631: it is chiefly remarkable for the introduction of such a body of interlocutors as is mentioned in 'Every Man out of his Humour.' The New Inn,' an unsuccessful comedy, was played in 1629, and printed in 1631. 'The Magnetick Lady, or Humours Reconciled,' a comedy of disputed merits, has no date assigned to it for the period of its first representation. The latter observation also applies to the Tale of a Tub,' a comedy, which is replete with low humour. To this list are to be added The Sad Shepherd, or a Tale of Robin Hood,' and Mortimer's Fall;' the first a pastoral, and the second a tragedy, both left unfinished at the moment of his death. His name also appears, in conjunction with Chapman and Marston, to Eastward Hoe,' a comedy dated 1605; and again, with Fletcher and Middleton, to the Widow,' a comedy printed in Dodsley's collection.

Ben Jonson was the first of our dramatic poets who can be called a classical scholar, and he turned his learning to no light account in translating whole passages from the Latin authors into his scenes. In this respect he made by no means the most cre

ditable use of his attainments; but he was also the first amongst us who composed his plays according to the rules of poetical art; and upon this point his merits are unequivocal. His plots, particularly in comedy, have been pronounced for the most part original, and his powers collectively were certainly great. They are, however, most studiously laboured: he consults the judgment more than he moves the heart, and has been read with pleasure, but acted with indifference. Solemn, erudite, and equally sustained, never sinking below, nor rising above, a standard par of correctness, with few graces, and fewer passions, the stronger charm of his art seems to consist in a surprising combination of characters, all richly invented and clearly distinguished, with an inexhaustible fund of humour; and its inore prominent faults a cold expression, stiff agency, and feeble catastrophe. It has been objected to him that he wants wit, a charge from which Dryden desired to rescue him by observing that he possessed it fully, and was only frugal in his use of it. The same poet also remarks, though not in these very words, that he managed his own strength better than any of his predecessors, and might have made higher flights had he not felt he came after those who had risen so nobly. According to Sir Richard Steele's estimate, his penetration was accurate and deep; and the skill with which he discerned and drew forth follies, was extensive and admirable. His works are ranked with those of Shakspeare, and Beaumont and Fletcher; but they hold the third place on the roll.

Of Jonson's private life nothing is known; but he has been represented a man of sullen temperament, most bitterly jealous of success, most haughtily impatient of rivalry, and somewhat rudely tainted with ingratitude. We are told that he always disputed Shakspeare's claim to matchlessness with pertinacity, and decried his style with much acerbity. This prejudice, if he owed Shakspeare the obligations previously mentioned, was unkind, but not altogether irreconcileable; a learned genius can never be supposed to witness the strong triumph of untaught nature without repining. But his aversion was not deadly, for he wrote a poem to Shakspeare's memory, which did credit both to his subject and to himself. He has also been censured for satirising Inigo Jones, an artist of the first talents, who aided his reputation, in no mean degree, by the machines and scenery devised for his

Court Masques: unfortunately the sin of this libel is extenuated by no atonement.

But the most extraordinary trait in Jonson's literary character is excessive vanity, and a reckless spirit of resentment for any disfavour shown to his productions. One instance of this peculiarity will suffice to convey an idea of its extravagance. His comedy of the New Inn, or the Light Heart,' rather failing of the success to which he fancied it was entitled, he issued it forth from the press with the following title:-" The NEW INN, or The LIGHT HEART, a comedy as it was never acted, but most negligently played by some, the King's Servants, and more squeamishly beheld and censured by others, the King's Subjects, 1629. Now at last set at liberty to the Readers, his Majesty's Servants and Subjects, to be judged of." But not even the sharpness of this censure could satisfy the indignation of our opinionated hero, RARE BEN JONSON. He subjoined an ode addressed to himself, in which the public taste was openly reprobated in stanzas coarse and bold as these:

Come, leave the loathed stage,

And the more loathsome age;

Where pride and impudence (in faction knit)
Usurp the chair of wit!

Indicting and arraigning every day,

Something they call a play.

Let their fastidious, vain

Commission of the brain

Run on, and rage, sweat, censure and condemn :
They were not made for thee, less thou for them.

Say that thou pour'st them wheat,

And they will acorns eat;

"Twere simple fury, still, thyself to waste,
On such as have no taste!

To offer them a surfeit of pure bread,
Whose appetites are dead!

No, give them grains their fill,
Husks, dross, to drink and swill.

If they love lees and leave the lusty wine,
Envy them not, their palate's with the swine.