"The Intrigue of it is the greatest and most noble of any pure unmixed Comedy in any language. You see in it, many persons of various Characters and Humours; and all delightful.
"As first, MOROSE, an old man, to whom all noise, but his own talking, is offensive. Some, who would be thought critics, say, 'This humour of his is forced.' But, to remove that objection, we may consider him, first, to be naturally of a delicate hearing, as many are, to whom all sharp sounds are unpleasant: and, secondly, we may attribute much of it to the peevishness of his age, or the wayward authority of an old man in his own house, where he may make himself obeyed; and this the Poet seems to allude to, in his name MOROSE. Besides this, I am assured from divers persons, that BEN. JOHNSON was actually acquainted with such a man, one altogether as ridiculous as he is here represented.
"Others say, 'It is not enough, to find one man of such an humour. It must he common to more; and the more common, the more natural.' To prove this, they instance in the best of comical characters, FALSTAFF. There are many men resembling him; Old, Fat, Merry, Cowardly, Drunken, Amorous, Vain, and Lying. But to convince these people; I need but [to] tell them, that Humour is the ridiculous extravagance of conversation, wherein one man differs from all others. If then it be common, or communicated to any; how differs it from other men's? or what indeed causes it to be ridiculous, so much as the singularity of it. As for FALSTAFF, he is not properly one Humour; but a Miscellany of Humours or Images drawn from so many several men. That wherein he is singular is his Wit, or those things he says, praeter expectatum, 'unexpected by the audience'; his quick evasions, when you imagine him surprised: which, as they are extremely diverting of themselves, so receive a great addition from his person; for the very sight of such an unwieldy old debauched fellow is a Comedy alone.
"And here, having a place so proper for it, I cannot but enlarge somewhat upon this subject of Humour, into which I am fallen.
"The Ancients had little of it in their Comedies: for the [Greek: no geloiou] [facetious absurdities] of the Old Comedy, of which ARISTOPHANES was chief, was not so much to imitate a man; as to make the people laugh at some odd conceit, which had commonly somewhat of unnatural or obscene in it. Thus, when you see SOCRATES brought upon the Stage, you are not to imagine him made ridiculous by the imitation of his actions: but rather, by making him perform something very unlike himself; something so childish and absurd, as, by comparing it with the gravity of the true SOCRATES, makes a ridiculous object for the spectators.
"In the New Comedy which succeeded, the Poets sought, indeed, to express the [Greek: aethos] [manners and habits]; as in their Tragedies, the [Greek: pathos] [sufferings] of mankind. But this [Greek: aethos] contained only the general characters of men and manners; as [of] Old Men, Lovers, Servingmen, Courtizans, Parasites, and such other persons as we see in their Comedies. All which, they made alike: that is, one Old Man or Father, one Lover, one Courtizan so like another, as if the first of them had begot the rest of every [each] sort. Ex homine hunc natum dicas. The same custom they observed likewise in their Tragedies.
"As for the French. Though they have the word humeur among them: yet they have small use of it in their Comedies or Farces: they being but ill imitations of the ridiculum or that which stirred up laughter in the Old Comedy. But among the English, 'tis otherwise. Where, by Humour is meant some extravagant habit, passion, or affection, particular, as I said before, to some one person, by the oddness of which, he is immediately distinguished from the rest of men: which, being lively and naturally represented, most frequently begets that malicious pleasure in the audience, which is testified by laughter: as all things which are deviations from common customs, are ever the aptest to produce it. Though, by the way, this Laughter is only accidental, as the person represented is fantastic or bizarre; but Pleasure is essential to it, as the Imitation of what is natural. This description of these Humours[9], drawn from the knowledge and observation of particular persons, was the peculiar genius and talent of BEN. JOHNSON. To whose Play, I now return.
"Besides MOROSE, there are, at least, nine or ten different Characters and Humours in the Silent Woman: all which persons have several concernments of their own; yet are all used by the Poet to the conducting of the main Design to perfection.
"I shall not waste time in commending the Writing of this Play: but I will give you my opinion, that there is more Wit and Acuteness of Fancy in it, than in any of BEN. JOHNSON's. Besides that, he has here described the conversation of gentlemen, in the persons of TRUE WIT and his friends, with more gaiety, air, and freedom than in the rest of his Comedies.
"For the Contrivance of the Plot: tis extreme[ly] elaborate; and yet, withal, easy. For the [Greek: desis], or Untying of it: 'tis so admirable, that, when it is done, no one of the audience would think the Poet could have missed it; and yet, it was concealed so much before the last Scene, that any other way would sooner have entered into your thoughts.