That his weak senses may come sweetly home.”[111:2]
He wakes, indeed, still “weak and sickly,” but himself again.
The general impression left by this comedy is, on the whole, pleasant, that part of it concerned with Shattillion included. The antics of the madman himself are certainly comic, especially on the stage, and the lighter side of his mania is persistently put forward. The only pathetic touch is, in fact, the genuine sorrow of his Lady. This predominance of the comic may be regretted, though in a play of the farcical nature of “The Noble Gentleman” little else could be expected. However, the sound, realistic basis of the disease, together with the simple and unassuming cure—which, nevertheless, would hardly be successful in real life,—makes the treatment of Shattillion as far superior to the treatment of the Passionate Lord as the one play is to the other. Considered absolutely, the representation of Shattillion is chiefly remarkable for its reality, its skilful weaving into the plot, and its mingling of pathos with broad humour. On the other hand the pathos would not be so artificial if the entrance of the lady were somewhat less mechanical—we could almost certainly predict when she will enter in the last two acts. Fletcher’s almost total blindness to everything but the comic and its possibilities also detracts from the effect of Shattillion, and the very obvious dramatic
motive for his introduction does not, on reflection, improve matters.
We have now passed from the heights of tragedy, through its pathos, and the ill-blended pathos and broad humour of inferior tragi-comedy to the pure and simple inanity of “The Nice Valour”—a work which certainly appears to be unfinished. In considering Shattillion, we have risen as high as we can hope to do within the limits of comedy, and before leaving the raving lunatic for another class of madman we must descend slightly as we consider Ben Jonson’s comedy of “Bartholomew Fair,” and his madman, Trouble-all.
The plot has already been outlined, and it will be seen that the place of the madman is an important one. Theoretically, he is of prime importance to the play, since it is foretold that Dame Purecraft, who has already had two suitors, shall “never have happy hour unless she marry within this sen’night; and when it is it must be a madman,” and it is Quarlous, dressed in Trouble-all’s clothes and affecting his malady, who eventually marries her. As a matter of fact, the main portion of the play is concerned with other things, and we only meet our madman in the fourth act. From this point onward, the author shews great ingenuity in his handling of him; the burden of his remarks alone serves as a point d’appui
for the spectator (who by this time is probably getting wearied), while the humorous situations which he provokes, culminating in the acuteness of Quarlous and its success, are largely responsible for the undoubted popularity of the comedy with both reader and spectator.
This is, of course, very much to the credit of a comedy which professedly deals with low life; it is more to our purpose to remark that as a picture of madness the character of Trouble-all is exceptionally correct. Gifford’s note to Cunningham’s edition of Ben Jonson remarks that “Even the trifling part of Trouble-all, in any other writer than Jonson, would be thought deserving of praise for its correct delineation of a particular species of insanity, too inoffensive for fear and too slight for commiseration.”[114:1] Gifford is right, both in what he states and in what he implies. We expect correctness from Jonson and we are not disappointed.
A sketch of the madman should make this clear. He was “an officer in the court of pie-poudres last year and put out of his place by Justice Overdo.”[114:2] His affliction is marked by the idée fixe; he raves continually about the Justice, and will do nothing—not even the simplest actions of daily life—without satisfying himself that he has Overdo’s warrant for it. How true to life this feature is may be read in
any modern book on insanity. He appears first of all in the fair, where Overdo is being put into the stocks: “If you have Justice Overdo’s warrant,” he says, “’tis well; you are safe: that is the warrant of warrants.”[115:1] He is walking to and fro, with all the restless impatience of mania, demanding to be shewn Adam Overdo. In his frantic wanderings he comes upon Dame Purecraft, who apparently thinks him more suitable for her than any madman she has yet seen and cries: “Now heaven increase his madness and bless and thank it.” Trouble-all’s reply does not vary: “Have you a warrant? an you have a warrant, shew it.”[115:1] Person after person presents himself but the madman’s reply is always the same. Every conversation he interrupts with his query, and, when he is ignored, he turns away in disgust. Once he exasperates a watchman, who strikes him. The latent rage of the lunatic shews itself, but the madman’s rationalisation first provides it with an excuse: “Strikest thou without a warrant? take thou that.” When Quarlous personates the lunatic[115:2] our author rightly depicts him as only partially successful, though his end is nevertheless as well reached as if he had been wholly so. He raves occasionally about a warrant, but it is not hard to see his sanity peeping through the veil of assumed madness. Much of his talk