But Jonson's

dolph's nose, they are features. are either a man with a huge wen, having a circulation of its own, and which we might conceive amputated, and the patient thereby losing all his character; or they are mere wens themselves instead of men,-wens personified, or with eyes, nose, and mouth cut out, mandrake-fashion.

Nota bene. All the above, and much more, will have been justly said, if, and whenever, the drama of Jonson is brought into comparisons of rivalry with the Shakspearian. But this should not be. Let its inferiority to the Shakspearian be at once fairly owned,-but at the same time as the inferiority of an altogether different genus of the drama. On this ground, old Ben would still maintain his proud height. He, no less than Shakspeare, stands on the summit of his hill, and looks round him like a master, though his be Lattrig and Shakspeare's Skiddaw.

THE ALCHEMIST.

ACT I. sc. 2. Face's speech:

Will take his oath o' the Greek Xenophon,

If need be, in his pocket.

Another reading is Testament.'

Probably, the meaning is, that intending

to give false evidence, he carried a Greek Xenophon to pass it off for a Greek Testament, and so avoid perjury-as the Irish do, by contriving to kiss their thumb-nails instead of the book.

Act ii. sc. 2. Mammon's speech :

I will have all my beds blown up; not stuft:

Down is too hard.

Thus the air-cushions, though perhaps only lately brought into use, were invented in idea in the seventeenth century!

CATILINE'S CONSPIRACY.

A FONDNESS for judging one work by comparison with others, perhaps altogether of a different class, argues a vulgar taste. Yet it is chiefly on this principle that the Catiline has been rated so low. Take it and Sejanus, as compositions of a particular kind, namely, as a mode of relating great historical events in the liveliest and most interesting manner, and I cannot help wishing that we had whole volumes of such plays. We might as rationally expect the excitement of the Vicar of Wakefield from Goldsmith's History of England, as that of Lear, Othello, &c. from the Sejanus or Catiline.

Act i. sc. 4.

Cat. Sirrah, what ail you?

(He spies one of his boys not answer.)

Pag. Nothing.

Best. Somewhat modest.

Cat. Slave, I will strike your soul out with my foot, &c.

This is either an unintelligible, or, in every sense, a most unnatural, passage,-improbable, if not impossible, at the moment of signing and swearing such a conspiracy, to the most libidinous satyr. The very presence of the boys is an outrage to probability. I suspect that these lines down to the words throat opens,' should be removed back so as to follow the words 'on this part of the house,' in the speech of Catiline soon after the entry of the conspirators. A total erasure, however, would be the best, or, rather, the only possible, amend

ment.

Act ii. sc. 2. Sempronia's speech

-

He is but a new fellow,

An inmate here in Rome, as Catiline calls him

A 'lodger' would have been a happier imitation of the inquilinus of Sallust.

Act iv. sc. 6. Speech of Cethegus:

Can these or such be any aids to us, &c.

What a strange notion Ben must have formed of a determined, remorseless, all-daring, foolhardiness, to have represented it in such a mouthing Tamburlane, and bombastic tonguebully as this Cethegus of his !

BARTHOLOMEW FAIR.

INDUCTION. Scrivener's speech :

If there be never a servant-monster i' the Fair, who can help it, he says, nor a nest of antiques?

The best excuse that can be made for Jonson, and in a somewhat less degree for Beaumont and Fletcher, in respect of these base and silly sneers at Shakspeare, is, that his plays were present to men's minds chiefly as acted. They had not a neat edition of them, as we have, so as, by comparing the one with the other, to form a just notion of the mighty mind that produced the whole. At all events, and in every point of view, Jonson stands far higher in a moral light than Beaumont and Fletcher. He was a fair contemporary, and in his way, and as far as Shakspeare is concerned, an original. But Beaumont and Fletcher were always imitators of, and often borrowers from, him, and yet sneer at him with a spite far more malignant than Jonson, who, besides, has made noble compensation by his praises.

Act ii. sc. 3.

Just. I mean a child of the horn-thumb, a babe of booty, boy, a cutpurse.

Does not this confirm, what the passage itself cannot but suggest, the propriety of sub

stituting booty' for 'beauty' in Falstaff's speech, Henry IV. Pt. I. act i. sc. 2. Let not us, &c.?'

It is not often that old Ben condescends to imitate a modern author; but master Dan. Knockhum Jordan and his vapours are manifest reflexes of Nym and Pistol.

Ib. sc. 5.

Quarl. She'll make excellent geer for the coachmakers here in Smithfield, to anoint wheels and axletrees with.

Good! but yet it falls short of the speech of a Mr. Johnes, M. P., in the Common Council, on the invasion intended by Buonaparte : Houses plundered-then burnt;-sons conscribed-wives and daughters ravished, &c. &c.—"But as for you, you luxurious Aldermen ! with your fat will he grease the wheels of his triumphal chariot !"

Ib. sc. 6.

Cok. Avoid i' your satin doublet, Numps.

6

This reminds me of Shakspeare's Aroint thee, witch!' I find in several books of that age the words aloigne and eloigne—that is,— 'keep your distance!' or 'off with you!' Perhaps aroint' was a corruption of aloigne' by the vulgar. The common etymology from ronger to gnaw seems unsatisfactory.

Act iii. sc. 4.

Quarl. How now, Numps! almost tired i' your protectorship? overparted, overparted?