"As when some one peculiar quality
Doth so possess a man, that it doth draw
All his affects, his spirits and his powers,
In their confluctions, all to run one way,
This may be truly said to be a Humor."
Unlike Shakespeare, Jonson gives a distorted or incomplete picture of life. In Volpone everything is subsidiary to the humor of avarice, which receives unnatural emphasis. In The Alchemist there is little to relieve the picture of credibility and hypocrisy, while The Silent Woman has for its leading character a man whose principal "humor" or aim in life is to avoid noise.
No drama which fails to paint the nobler side of womanhood can be called complete. In Jonson's plays we do not find a single woman worthy to come near the Shakespearean characters, Cordelia, Imogen, and Desdemona. His limitations are nowhere more marked than in his inability to portray a noble woman.
Another reason why he fails to present life completely is shown in these lines, in which he defines his mission:—
"My strict hand
Was made to seize on vice, and with a gripe
Squeeze out the humor of such spongy souls
As lick up every idle vanity."
Since the world needs building up rather than tearing down, a remedy for an ailment rather than fault-finding, the greatest of men cannot be mere satirists. Shakespeare displays some fellow feeling for the object of his satire, but Jonson's satire is cold and devoid of sympathy.
Jonson deliberately took his stand in opposition to the romantic spirit of the age. Marlowe and Shakespeare had disregarded the classical unities and had developed the drama on romantic lines. Jonson resolved to follow classical traditions and to adhere to unity of time and place in the construction of his plots. The action in the play of The Silent Woman, for instance, occupies only twelve hours.
General Characteristics.—Jonson's plays show the touch of a conscientious artist with great intellectual ability. His vast erudition is constantly apparent. He is the satiric historian of his time, and he exhibits the follies and the humors of the age under a powerful lens. He is also the author of dainty lyrics, and forcible prose criticism.
Among the shortcomings of his plays, we may specially note lack of feeling and of universality. He fails to comprehend the nature of woman. He is not a sympathetic observer of manifold life, but presents only what is perceived through the frosted glass of intellect. His art is self-conscious. He defiantly opposed the romantic spirit of the age and weakened the drama by making it bear the burden of the classical unities.