We shall not attempt to decide where such doctors disagree. It may not be amiss, however, to record this personal opinion: that these playwrights added little to the drama and still less to literature, and that it is hardly worth while to search out their good passages amid a welter of repulsive details. If they are to be read at all, the student will find enough of their work for comparison with the Shakespearean drama in a book of selections, such as Lamb's Specimens of English Dramatic Poetry or Thayer's The Best Elizabethan Plays.
BEN JONSON (1573?-1637). The greatest figure among these dramatists was Jonson,—"O rare Ben Jonson" as his epitaph describes him, "O rough Ben Jonson" as he was known to the playwrights with whom he waged literary warfare. His first notable play, Every Man in His Humour, satirizing the fads or humors of London, was acted by Shakespeare's company, and Shakespeare played one of the parts. Then Jonson fell out with his fellow actors, and wrote The Poetaster (acted by a rival company) to ridicule them and their work. Shakespeare was silent, but the cudgels were taken up by Marston and Dekker, the latter of whom wrote, among other and better plays, Satiromastix, which was played by Shakespeare's company as a counter attack on Jonson.
[Illustration: BEN JONSON]
The value of Jonson's plays is that they give us vivid pictures of Elizabethan society, its speech, fashions, amusements, such as no other dramatist has drawn. Shakespeare pictures men and women as they might be in any age; but Jonson is content to picture the men and women of London as they appeared superficially in the year 1600. His chief comedies, which satirize the shams of his age, are: Volpone, or the Fox, a merciless exposure of greed and avarice; The Alchemist, a study of quackery as it was practiced in Elizabethan days; Bartholomew Fair, a riot of folly; and Epicoene, or the Silent Woman, which would now be called a roaring farce. His chief tragedies are Sejanus and Catiline.
In later life Jonson was appointed poet laureate, and wrote many masques, such as the Masque of Beauty and the unfinished Sad Shepherd. These and a few lyrics, such as the "Triumph of Charis" and the song beginning, "Drink to me only with thine eyes," are the pleasantest of Jonson's works. At the end he abandoned the drama, as Shakespeare had done, and lashed it as severely as any Puritan in the ode beginning, "Come leave the loathëd stage."
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THE PROSE WRITERS
Unless one have antiquarian tastes, there is little in Elizabethan prose to reward the reader. Strange to say, the most tedious part of it was written by literary men in what was supposed to be a very fine style; while the small part that still attracts us (such as Bacon's Essays or Hakluyt's Voyages) was mostly written by practical men with no thought for literary effect.
This curious result came about in the following way. In the sixteenth century poetry was old, but English prose was new; for in the two centuries that had elapsed since Mandeville wrote his Travels, Malory's Morte d' Arthur (1475) and Ascham's Scholemaster (1563) are about the only two books that can be said to have a prose style. Then, just as the Elizabethans were turning to literature, John Lyly appeared with his Euphues, or the Anatomy of Wit (1578), an alleged novel made up of rambling conversations upon love, education, fashion,—everything that came into the author's head. The style was involved, artificial, tortured; it was loaded with conceits, antitheses and decorations:
"I perceive, Camilla, that be your cloth never so bad it will take some colour, and your cause never so false it will bear some show of probability; wherein you manifest the right nature of a woman, who, having no way to win, thinketh to overcome with words…. Take heed, Camilla, that seeking all the wood for a straight stick you choose not at the last a crooked staff, or prescribing a good counsel to others thou thyself follow the worst much like to Chius, who selling the best wine to others drank himself of the lees."