a height. Humour was his proper sphere, and in that he delighted most to present mechanical people. He was deeply conversant in the ancients, both Greek and Latin, and he borrowed boldly from them. There is scarce a poet or historian among the Roman authors of those times whom he has not translated in 'Sejanus' or 'Catiline.' But he has done his robberies so openly, that one may see he fears not to be taxed by any law. He invades authors like a monarch, and what would be theft in other poets is only victory in him. With the spoils of these writers, he so represents old Rome to us, in its rites, ceremonies, and customs, that if one of their poets had written either of his tragedies, we had seen less of it than in him. If there was any fault in his language, it was that he weaved it too closely and laboriously, in his comedies especially; perhaps, too, he did a little too much Romanize our language, leaving the words he translated almost as much Latin as he found them, wherein, though he learnedly followed their language, he did not enough comply with the idioms of ours. If I would compare him with Shakespeare, I must acknowledge him the most correct poet, but Shakespeare the greater wit. Shakespeare was the Homer or father of dramatic poets, Jonson was the Virgil, the pattern of elaborate writing. I admire him; but I love Shakespeare."
Clarendon says of him: "Ben Jonson's name can never be forgotten, having by his very good learning, and the severity of his nature and manners, very much reformed the stage, and, indeed the English poetry itself. His natural advantages were judgment to order and govern fancy rather than success of fancy, his production being slow and upon deliberation, yet then abounding with great wit and fancy, and will live accordingly; and surely as he did exceedingly exalt the English language in eloquence, propriety, and masculine expression, so he was
