Part 3

But the patronage of the court failed in the days of King Charles, though Jonson was not without royal favours; and the old poet returned to the stage, producing, between 1625 and 1633, "The Staple of News," "The New Inn," "The Magnetic Lady," and "The Tale of a Tub," the last doubtless revised from a much earlier comedy. None of these plays met with any marked success, although the scathing generalisation of Dryden that designated them "Jonson's dotages" is unfair to their genuine merits. Thus the idea of an office for the gathering, proper dressing, and promulgation of news (wild flight of the fancy in its time) was an excellent subject for satire on the existing absurdities among newsmongers; although as much can hardly be said for "The Magnetic Lady," who, in her bounty, draws to her personages of differing humours to reconcile them in the end according to the alternative title, or "Humours Reconciled." These last plays of the old dramatist revert to caricature and the hard lines of allegory; the moralist is more than ever present, the satire degenerates into personal lampoon, especially of his sometime friend, Inigo Jones, who appears unworthily to have used his influence at court against the broken-down old poet. And now disease claimed Jonson, and he was bedridden for months. He had succeeded Middleton in 1628 as Chronologer to the City of London, but lost the post for not fulfilling its duties. King Charles befriended him, and even commissioned him to write still for the entertainment of the court; and he was not without the sustaining hand of noble patrons and devoted friends among the younger poets who were proud to be "sealed of the tribe of Ben."

Jonson died, August 6, 1637, and a second folio of his works, which he had been some time gathering, was printed in 1640, bearing in its various parts dates ranging from 1630 to 1642. It included all the plays mentioned in the foregoing paragraphs, excepting "The Case is Altered;" the masques, some fifteen, that date between 1617 and 1630; another collection of lyrics and occasional poetry called "Underwoods", including some further entertainments; a translation of "Horace's Art of Poetry" (also published in a vicesimo quarto in 1640), and certain fragments and ingatherings which the poet would hardly have included himself. These last comprise the fragment (less than seventy lines) of a tragedy called "Mortimer his Fall," and three acts of a pastoral drama of much beauty and poetic spirit, "The Sad Shepherd." There is also the exceedingly interesting "English Grammar" "made by Ben Jonson for the benefit of all strangers out of his observation of the English language now spoken and in use," in Latin and English; and "Timber, or Discoveries" "made upon men and matter as they have flowed out of his daily reading, or had their reflux to his peculiar notion of the times." The "Discoveries," as it is usually called, is a commonplace book such as many literary men have kept, in which their reading was chronicled, passages that took their fancy translated or transcribed, and their passing opinions noted. Many passages of Jonson's "Discoveries" are literal translations from the authors he chanced to be reading, with the reference, noted or not, as the accident of the moment prescribed. At times he follows the line of Macchiavelli's argument as to the nature and conduct of princes; at others he clarifies his own conception of poetry and poets by recourse to Aristotle. He finds a choice paragraph on eloquence in Seneca the elder and applies it to his own recollection of Bacon's power as an orator; and another on facile and ready genius, and translates it, adapting it to his recollection of his fellow-playwright, Shakespeare. To call such passages -- which Jonson never intended for publication -- plagiarism, is to obscure the significance of words. To disparage his memory by citing them is a preposterous use of scholarship. Jonson's prose, both in his dramas, in the descriptive comments of his masques, and in the "Discoveries," is characterised by clarity and vigorous directness, nor is it wanting in a fine sense of form or in the subtler graces of diction.

When Jonson died there was a project for a handsome monument to his memory. But the Civil War was at hand, and the project failed. A memorial, not insufficient, was carved on the stone covering his grave in one of the aisles of Westminster Abbey:

"O rare Ben Jonson."

FELIX E. SCHELLING.

THE COLLEGE,

PHILADELPHIA, U.S.A.

The following is a complete list of his published works: --

DRAMAS:

Every Man in his Humour, 4to, 1601; The Case is Altered, 4to, 1609; Every Man out of his Humour, 4to, 1600; Cynthia's Revels, 4to, 1601; Poetaster, 4to, 1602; Sejanus, 4to, 1605; Eastward Ho (with Chapman and Marston), 4to, 1605; Volpone, 4to, 1607; Epicoene, or the Silent Woman, 4to, 1609 (?), fol., 1616; The Alchemist, 4to, 1612; Catiline, his Conspiracy, 4to, 1611; Bartholomew Fayre, 4to, 1614 (?), fol., 1631; The Divell is an Asse, fol., 1631; The Staple of Newes, fol., 1631; The New Sun, 8vo, 1631, fol., 1692; The Magnetic Lady, or Humours Reconcild, fol., 1640; A Tale of a Tub, fol., 1640; The Sad Shepherd, or a Tale of Robin Hood, fol., 1641; Mortimer his Fall (fragment), fol., 1640.

To Jonson have also been attributed additions to Kyd's Jeronymo, and collaboration in The Widow with Fletcher and Middleton, and in the Bloody Brother with Fletcher.

POEMS:

Epigrams, The Forrest, Underwoods, published in fols., 1616, 1640; Selections: Execration against Vulcan, and Epigrams, 1640; G. Hor. Flaccus his art of Poetry, Englished by Ben Jonson, 1640; Leges Convivialis, fol., 1692. Other minor poems first appeared in Gifford's edition of Works.

PROSE:

Timber, or Discoveries made upon Men and Matter, fol., 1641; The English Grammar, made by Ben Jonson for the benefit of Strangers, fol., 1640.

Masques and Entertainments were published in the early folios.

WORKS:

Fol., 1616, volume. 2, 1640 (1631-41); fol., 1692, 1716-19, 1729; edited by P. Whalley, 7 volumes., 1756; by Gifford (with Memoir), 9 volumes., 1816, 1846; re-edited by F. Cunningham, 3 volumes., 1871; in 9 volumes., 1875; by Barry Cornwall (with Memoir), 1838; by B. Nicholson (Mermaid Series), with Introduction by C. H. Herford, 1893, etc.; Nine Plays, 1904; ed. H. C. Hart (Standard Library), 1906, etc; Plays and Poems, with Introduction by H. Morley (Universal Library), 1885; Plays (7) and Poems (Newnes), 1905; Poems, with Memoir by H. Bennett (Carlton Classics), 1907; Masques and Entertainments, ed. by H. Morley, 1890.

SELECTIONS:

J. A. Symonds, with Biographical and Critical Essay, (Canterbury Poets), 1886; Grosart, Brave Translunary Things, 1895; Arber, Jonson Anthology, 1901; Underwoods, Cambridge University Press, 1905; Lyrics (Jonson, Beaumont and Fletcher), the Chap Books, No. 4, 1906; Songs (from Plays, Masques, etc.), with earliest known setting, Eragny Press, 1906.

LIFE:

See Memoirs affixed to Works; J. A. Symonds (English Worthies), 1886; Notes of Ben Jonson Conversations with Drummond of Hawthornden; Shakespeare Society, 1842; ed. with Introduction and Notes by P. Sidney, 1906; Swinburne, A Study of Ben Jonson, 1889.

EPICOENE; OR, THE SILENT WOMAN

TO THE TRULY NOBLE BY ALL TITLES

SIR FRANCIS STUART

Sir,

My hope is not so nourished by example, as it will conclude, this dumb piece should please you, because it hath pleased others before; but by trust, that when you have read it, you will find it worthy to have displeased none. This makes that I now number you, not only in the names of favour, but the names of justice to what I write; and do presently call you to the exercise of that noblest, and manliest virtue; as coveting rather to be freed in my fame, by the authority of a judge, than the credit of an undertaker. Read, therefore, I pray you, and censure. There is not a line, or syllable in it, changed from the simplicity of the first copy. And, when you shall consider, through the certain hatred of some, how much a man's innocency may be endangered by an uncertain accusation; you will, I doubt not, so begin to hate the iniquity of such natures, as I shall love the contumely done me, whose end was so honourable as to be wiped off by your sentence.

Your unprofitable, but true Lover,

BEN JONSON.

DRAMATIS PERSONAE:

MOROSE, a Gentleman that loves no noise.

SIR DAUPHINE EUGENIE, a Knight, his Nephew.

NED CLERIMONT, a Gentleman, his Friend.

TRUEWIT, another Friend.

SIR JOHN DAW, a Knight.

SIR AMOROUS LA-FOOLE, a Knight also.

THOMAS OTTER, a Land and Sea Captain.

CUTBEARD, a Barber.

MUTE, one of MOROSE's Servants.

PARSON.

Page to CLERIMONT.

EPICOENE, supposed the Silent Woman.

LADY HAUGHTY, LADY CENTAURE, MISTRESS DOL MAVIS, Ladies Collegiates.

MISTRESS OTTER, the Captain's Wife, MISTRESS TRUSTY, LADY HAUGHTY'S Woman, Pretenders.

Pages, Servants, etc.

SCENE -- LONDON.

PROLOGUE

Truth says, of old the art of making plays Was to content the people; and their praise Was to the poet money, wine, and bays.

But in this age, a sect of writers are, That, only, for particular likings care, And will taste nothing that is popular.

With such we mingle neither brains nor breasts; Our wishes, like to those make public feasts, Are not to please the cook's taste, but the guests'.

Yet, if those cunning palates hither come, They shall find guests' entreaty, and good room; And though all relish not, sure there will be some,

That, when they leave their seats, shall make them say, Who wrote that piece, could so have wrote a play, But that he knew this was the better way.

For, to present all custard, or all tart, And have no other meats, to bear a part. Or to want bread, and salt, were but course art.

The poet prays you then, with better thought To sit; and, when his cates are all in brought, Though there be none far-fet, there will dear-bought,

Be fit for ladies: some for lords, knights, 'squires; Some for your waiting-wench, and city-wires; Some for your men, and daughters of Whitefriars.

Nor is it, only, while you keep your seat Here, that his feast will last; but you shall eat A week at ord'naries, on his broken meat: If his muse be true, Who commends her to you.

ANOTHER.

The ends of all, who for the scene do write, Are, or should be, to profit and delight. And still't hath been the praise of all best times, So persons were not touch'd, to tax the crimes. Then, in this play, which we present to-night, And make the object of your ear and sight, On forfeit of yourselves, think nothing true: Lest so you make the maker to judge you, For he knows, poet never credit gain'd By writing truths, but things (like truths) well feign'd. If any yet will, with particular sleight Of application, wrest what he doth write; And that he meant, or him, or her, will say: They make a libel, which he made a play.

ACT 1.

SCENE 1.1.

A ROOM IN CLERIMONT'S HOUSE.

ENTER CLERIMONT, MAKING HIMSELF READY, FOLLOWED BY HIS PAGE.

CLER: Have you got the song yet perfect, I gave you, boy?

PAGE: Yes, sir.

CLER: Let me hear it.

PAGE: You shall, sir, but i'faith let nobody else.

CLER: Why, I pray?

PAGE: It will get you the dangerous name of a poet in town, sir; besides me a perfect deal of ill-will at the mansion you wot of, whose lady is the argument of it; where now I am the welcomest thing under a man that comes there.

CLER: I think, and above a man too, if the truth were rack'd out of you.

PAGE: No, faith, I'll confess before, sir. The gentlewomen play with me, and throw me on the bed; and carry me in to my lady; and she kisses me with her oil'd face; and puts a peruke on my head; and asks me an I will wear her gown? and I say, no: and then she hits me a blow o' the ear, and calls me Innocent! and lets me go.

CLER: No marvel if the door be kept shut against your master, when the entrance is so easy to you--well sir, you shall go there no more, lest I be fain to seek your voice in my lady's rushes, a fortnight hence. Sing, sir.

PAGE [SINGS]: Still to be neat, still to be drest--

[ENTER TRUEWIT.]

TRUE: Why, here's the man that can melt away his time and never feels it! What between his mistress abroad, and his ingle at home, high fare, soft lodging, fine clothes, and his fiddle; he thinks the hours have no wings, or the day no post-horse. Well, sir gallant, were you struck with the plague this minute, or condemn'd to any capital punishment to-morrow, you would begin then to think, and value every article of your time, esteem it at the true rate, and give all for it.

CLER: Why what should a man do?

TRUE: Why, nothing; or that which, when it is done, is as idle. Harken after the next horse-race or hunting-match; lay wagers, praise Puppy, or Pepper-corn, White-foot, Franklin; swear upon Whitemane's party; speak aloud, that my lords may hear you; visit my ladies at night, and be able to give them the character of every bowler or better on the green. These be the things wherein your fashionable men exercise themselves, and I for company.

CLER: Nay, if I have thy authority, I'll not leave yet. Come, the other are considerations, when we come to have gray heads and weak hams, moist eyes and shrunk members. We'll think on 'em then; and we'll pray and fast.

TRUE: Ay, and destine only that time of age to goodness, which our want of ability will not let us employ in evil!

CLER: Why, then 'tis time enough.

TRUE: Yes; as if a man should sleep all the term, and think to effect his business the last day. O, Clerimont, this time, because it is an incorporeal thing, and not subject to sense, we mock ourselves the fineliest out of it, with vanity and misery indeed! not seeking an end of wretchedness, but only changing the matter still.

CLER: Nay, thou wilt not leave now--

TRUE: See but our common disease! with what justice can we complain, that great men will not look upon us, nor be at leisure to give our affairs such dispatch as we expect, when we will never do it to ourselves? nor hear, nor regard ourselves?

CLER: Foh! thou hast read Plutarch's morals, now, or some such tedious fellow; and it shews so vilely with thee! 'fore God, 'twill spoil thy wit utterly. Talk me of pins, and feathers, and ladies, and rushes, and such things: and leave this Stoicity alone, till thou mak'st sermons.

TRUE: Well, sir; if it will not take, I have learn'd to lose as little of my kindness as I can. I'll do good to no man against his will, certainly. When were you at the college?

CLER: What college?

TRUE: As if you knew not!

CLER: No faith, I came but from court yesterday.

TRUE: Why, is it not arrived there yet, the news? A new foundation, sir, here in the town, of ladies, that call themselves the collegiates, an order between courtiers and country-madams, that live from their husbands; and give entertainment to all the wits, and braveries of the time, as they call them: cry down, or up, what they like or dislike in a brain or a fashion, with most masculine, or rather hermaphroditical authority; and every day gain to their college some new probationer.

CLER: Who is the president?

TRUE: The grave, and youthful matron, the lady Haughty.

CLER: A pox of her autumnal face, her pieced beauty! there's no man can be admitted till she be ready, now-a-days, till she has painted, and perfumed, and wash'd, and scour'd, but the boy here; and him she wipes her oil'd lips upon, like a sponge. I have made a song, I pray thee hear it, on the subject.

PAGE. [SINGS.]

Still to be neat, still to be drest, As you were going to a feast; Still to be powder'd, still perfum'd; Lady, it is to be presumed, Though art's hid causes are not found, All is not sweet, all is not sound.

Give me a look, give me a face, That makes simplicity a grace; Robes loosely flowing, hair as free: Such sweet neglect more taketh me, Then all the adulteries of art; They strike mine eyes, but not my heart.

TRUE: And I am clearly on the other side: I love a good dressing before any beauty o' the world. O, a woman is then like a delicate garden; nor is there one kind of it; she may vary every hour; take often counsel of her glass, and choose the best. If she have good ears, shew them; good hair, lay it out; good legs, wear short clothes; a good hand, discover it often; practise any art to mend breath, cleanse teeth, repair eye-brows; paint, and profess it.

CLER: How? publicly?

TRUE: The doing of it, not the manner: that must be private. Many things that seem foul in the doing, do please done. A lady should, indeed, study her face, when we think she sleeps; nor, when the doors are shut, should men be enquiring; all is sacred within, then. Is it for us to see their perukes put on, their false teeth, their complexion, their eye-brows, their nails? You see guilders will not work, but inclosed. They must not discover how little serves, with the help of art, to adorn a great deal. How long did the canvas hang afore Aldgate? Were the people suffered to see the city's Love and Charity, while they were rude stone, before they were painted and burnish'd? No: no more should Servants approach their mistresses, but when they are complete and finish'd.

CLER: Well said, my Truewit.

TRUE: And a wise lady will keep a guard always upon the place, that she may do things securely. I once followed a rude fellow into a chamber, where the poor madam, for haste, and troubled, snatch'd at her peruke to cover her baldness; and put it on the wrong way.

CLER: O prodigy!

TRUE: And the unconscionable knave held her in complement an hour with that reverst face, when I still look'd when she should talk from the t'other side.

CLER: Why, thou shouldst have relieved her.

TRUE: No, faith, I let her alone, as we'll let this argument, if you please, and pass to another. When saw you Dauphine Eugenie?

CLER: Not these three days. Shall we go to him this morning? he is very melancholy, I hear.

TRUE: Sick of the uncle? is he? I met that stiff piece of formality, his uncle, yesterday, with a huge turban of night-caps on his head, buckled over his ears.

CLER: O, that's his custom when he walks abroad. He can endure no noise, man.

TRUE: So I have heard. But is the disease so ridiculous in him as it is made? They say he has been upon divers treaties with the fish-wives and orange-women; and articles propounded between them: marry, the chimney-sweepers will not be drawn in.

CLER: No, nor the broom-men: they stand out stiffly. He cannot endure a costard-monger, he swoons if he hear one.

TRUE: Methinks a smith should be ominous.

CLER: Or any hammer-man. A brasier is not suffer'd to dwell in the parish, nor an armourer. He would have hang'd a pewterer's prentice once on a Shrove-tuesday's riot, for being of that trade, when the rest were quit.

TRUE: A trumpet should fright him terribly, or the hautboys.

CLER: Out of his senses. The waights of the city have a pension of him not to come near that ward. This youth practised on him one night like the bell-man; and never left till he had brought him down to the door with a long-sword: and there left him flourishing with the air.

PAGE: Why, sir, he hath chosen a street to lie in so narrow at both ends, that it will receive no coaches, nor carts, nor any of these common noises: and therefore we that love him, devise to bring him in such as we may, now and then, for his exercise, to breathe him. He would grow resty else in his ease: his virtue would rust without action. I entreated a bearward, one day, to come down with the dogs of some four parishes that way, and I thank him he did; and cried his games under master Morose's window: till he was sent crying away, with his head made a most bleeding spectacle to the multitude. And, another time, a fencer marchng to his prize, had his drum most tragically run through, for taking that street in his way at my request.

TRUE: A good wag! How does he for the bells?

CLER: O, in the Queen's time, he was wont to go out of town every Saturday at ten o'clock, or on holy day eves. But now, by reason of the sickness, the perpetuity of ringing has made him devise a room, with double walls, and treble ceilings; the windows close shut and caulk'd: and there he lives by candlelight. He turn'd away a man, last week, for having a pair of new shoes that creak'd. And this fellow waits on him now in tennis-court socks, or slippers soled with wool: and they talk each to other in a trunk. See, who comes here!

[ENTER SIR DAUPHINE EUGENIE.]

DAUP: How now! what ail you sirs? dumb?

TRUE: Struck into stone, almost, I am here, with tales o' thine uncle. There was never such a prodigy heard of.

DAUP: I would you would once lose this subject, my masters, for my sake. They are such as you are, that have brought me into that predicament I am with him.

TRUE: How is that?

DAUP: Marry, that he will disinherit me; no more. He thinks, I and my company are authors of all the ridiculous Acts and Monuments are told of him.

TRUE: S'lid, I would be the author of more to vex him; that purpose deserves it: it gives thee law of plaguing him. I will tell thee what I would do. I would make a false almanack; get it printed: and then have him drawn out on a coronation day to the Tower-wharf, and kill him with the noise of the ordnance. Disinherit thee! he cannot, man. Art not thou next of blood, and his sister's son?

DAUP: Ay, but he will thrust me out of it, he vows, and marry.

TRUE: How! that's a more portent. Can he endure no noise, and will venture on a wife?

CLER: Yes: why thou art a stranger, it seems, to his best trick, yet. He has employed a fellow this half year all over England to hearken him out a dumb woman; be she of any form, or any quality, so she be able to bear children: her silence is dowry enough, he says.

TRUE: But I trust to God he has found none.

CLER: No; but he has heard of one that is lodged in the next street to him, who is exceedingly soft-spoken; thrifty of her speech; that spends but six words a day. And her he's about now, and shall have her.

TRUE: Is't possible! who is his agent in the business?

CLER: Marry a barber; one Cutbeard; an honest fellow, one that tells Dauphine all here.

TRUE: Why you oppress me with wonder: a woman, and a barber, and love no noise!

CLER: Yes, faith. The fellow trims him silently, and has not the knack with his sheers or his fingers: and that continence in a barber he thinks so eminent a virtue, as it has made him chief of his counsel.