By writing truths, but things, like truths, well feign'd.”
By “truths” he means “facts.” Caricatures are not less so because they are found existing in real life. Comedy demands characters, and leaves caricatures to farce. The safest and the truest defence of old Ben would be to call the Epicœne the best of farces. The defect in Morose, as in other of Jonson's dramatis personæ, lies in this;—that the accident is not a prominence growing out of, and nourished by, the character which still circulates in it; but that the character, such as it is, rises out of, or, rather, consists in, the accident. Shakespeare's comic personages have exquisitely characteristic features; however awry, disproportionate, and laughable they may be, still, like Bardolph's nose, they are features. But Jonson's 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 [pg 273] 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 justly been said, if, and whenever, the drama of Jonson is brought into comparisons of rivalry with the Shakespearian. But this should not be. Let its inferiority to the Shakespearian be at once fairly owned,—but at the same time as the inferiority of an altogether different genius of the drama. On this ground, old Ben would still maintain his proud height. He, no less than Shakespeare stands on the summit of his hill, and looks round him like a master,—though his be Lattrig and Shakespeare'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.