  This is to my feelings the most entertaining of old Ben's comedies, and, more than any other, would admit of being brought out anew, if under the management of a judicious and stage-understanding playwright; and an actor, who had studied Morose, might make his fortune. Act i. sc. 1. Clerimont's speech:— He would have hanged a pewterer's 'prentice once on a Shrove Tuesday's riot, for being 'o that trade, when the rest were quiet. The old copies read 'quit', i. e. discharged from working, and gone to divert themselves. (Whalley's note.) It should be 'quit', no doubt; but not meaning 'discharged from working,' &c.—but quit, that is, acquitted. The pewterer was at his holiday diversion as well as the other apprentices, and they as forward in the riot as he. But he alone was punished under pretext of the riot, but in fact for his trade. Act ii. sc. 1. 'Morose'. Cannot I, yet, find out a more compendious method, than by this trunk, to save my servants the labour of speech, and mine ears the discord of sounds? What does 'trunk' mean here and in the 1st scene of the 1st act? Is it a large ear-trumpet?—or rather a tube, such as passes from parlour to kitchen, instead of a bell? Whalley's note at the end. Some critics of the last age imagined the character of Morose to be wholly out of nature. But to vindicate our poet, Mr. Dryden tells us from tradition, and we may venture to take his word, that Jonson was really acquainted with a person of this whimsical turn of mind: and as humor is a personal quality, the poet is acquitted from the charge of exhibiting a monster, or an extravagant unnatural caricatura. If Dryden had not made all additional proof superfluous by his own plays, this very vindication would evince that he had formed a false and vulgar conception of the nature and conditions of the drama and dramatic personation. Ben Jonson would himself have rejected such a plea:— For he knew, poet never credit gain'd 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 truest defence of old Ben would be to call the EpicÆne 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. Shakspeare'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 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 been justly said, if, and whenever, the drama of Jonson is brought into comparisons of rivalry with the Shakspearian. But this should not be. Let its inferiority to the Shakspearian be at once fairly owned,—but at the same time as the inferiority of an altogether different 'genus' of the drama. On this ground, old Ben would still maintain his proud height. He, no less than Shakspeare, stands on the summit of his hill, and looks round him like a master,—though his be Lattrig and Shakspeare's Skiddaw.
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