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Updated: May 3, 2025
From his mother he received certain strong characteristics, and by a single short reference in Jonson's works we are led to see the kind of woman she was.
The Baron, drawing out a private key, unlocked the casket, raised the lid, and produced a golden goblet of a singular and antique appearance, moulded into the shape of a rampant bear, which the owner regarded with a look of mingled reverence, pride, and delight, that irresistibly reminded Waverley of Ben Jonson's Tom Otter, with his Bull, Horse, and Dog, as that wag wittily denominated his chief carousing cups.
If you have seen any of Shakespeare's plays on the stage, how do they compare in interest with a modern play? What are Ben Jonson's chief plays? In what important respects did they differ from those of Shakespeare? Tell the story of "The Alchemist" or "The Silent Woman." Name other contemporaries and successors of Shakespeare. Give some reasons for the preëminence of the Elizabethan drama.
Greenwood, he says that in Ben's sentence about the players and their ignorant commendation, "we have it on Jonson's testimony that the players looked upon William Shakspere the actor as the author of the plays and praised him for never blotting out a line." We have it, and how is the critic to get over or round the fact?
He bears the spirit of his time not less markedly than Bacon does, or Newton, or Descartes. The work of the followers of Donne and Jonson leads straight to the new school, Jonson's by giving that school a model on which to work, Donne's by producing an era of extravagance and absurdity which made a literary revolution imperative.
Many have found this flowing narrative hard of belief. It is doubted whether Gifford had any authority for mixing up Sir Walter Raleigh with the Mermaid, and there are good grounds for believing that Jonson's relations with Shakespeare were not of an intimate character. All the same, it is beyond dispute that there were rare combats of wit at the Mermaid in Jonson's days and under his rule.
A mysterious thing, this flight of the owl: the wings did not flap, there was no sound, merely the consciousness of displaced air. We were not, as it afterward proved, ten miles from home, and yet, as far as trace of humanity was concerned, we might have been the only created man and woman. Do you remember the old gypsy song? Ben Jonson's, I think
His needy condition was, however, little bettered, even when Charles I., in 1630, conferred upon him, seven years before his death, an annual pension of 100 pounds, with a terse of Spanish wine yearly out of his Majesty's store at Whitehall. A letter of Sir Thomas Hawkins describes one of the last circumstances of Jonson's life.
In Jonson's Sad Shepherd we find ourselves once again considering a work which is not only one of very great interest in the history of pastoral, but which at the same time raises important questions of literary criticism.
In the latter part of Elizabeth's reign, sonnets were even called "merchantable ware." Drayton's best sonnet is, Since there's no help, come let us kiss and part. Outside of the sonnets, we shall find love lyrics in great variety. One of the most popular of Elizabethan songs is Ben Jonson's:
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