strong prejudices, supporters of the existing order of things, stern censors, critics candid to a fault, great conversationalists and brilliant wits; in their religious views sincere, but gloomy, if not superstitious; both devoted heart and soul to literature; and whatever shape their writings assumed—the moral satirists of the eras which they severally adorned.
It now remains for us to attempt an estimate of Ben Jonson's literary efforts. Let us look at him first as the writer of tragedies. We cannot say of him as, with Hazlitt, we may of Shakespeare, that he was "greatest in the greatest."
The author of "Every Man in his Humour," "The Fox," and "The Alchymist," must rank above the author of "Sejanus" and "Catiline." Jonson had all the keen observation and abundant wit which can descry and picture the weakness of human follies and fashions. He was deficient in that sublimer inspiration which is the voice of passion. In his selection of subjects also he was not happy. The regal history of our own country which Shakespeare has made his own, Jonson eschewed. His knowledge of ancient authors tempted him to draw from Roman annals the sources of tragic interest. In this, his learning became his snare. If we compare "Julius Cæsar" with either of Jonson's dramas drawn from the history of the same nation, our preference to Shakespeare's play must be yielded without a reservation. Shakespeare has avoided the prolix speeches, the literal translations from Latin writers, the too faithful adherence to minute incidents historical, but not, therefore, necessarily interesting; and he has seized, with the same instinct, on Roman character, exhibiting, as he always does, a profound knowledge of men's feelings, and the power of clothing mere abstract humanity in palpable flesh and blood.
"Sejanus" was the first of our poet's two tragedies.
