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His cordiality, his warm-hearted sympathy in our object, his keen wit, inimitable humor, and childlike and simple mirthfulness, his full appreciation of the beautiful in art and nature, impressed us with the conviction that we were the guests of no ordinary man; that we were communing with unmistakable genius, such an one as might have added to the wit and eloquence of Ben Jonson's famous club at the Mermaid, or that which Lamb and Coleridge and Southey frequented at the Salutation and Cat, of Smithfield.
It is said to have been the ground of B. Jonson's "Alchymist;" but, saving the ridicuiousnesse of Angell's part, which is called Trinkilo, I do not see any thing extraordinary in it, but was indeed weary of it before it was done. The King here, and, indeed, all of us, pretty merry at the mimique tricks of Trinkilo.
And she was the subject of Ben Jonson's famous epitaph. Sidney's Defense of Poesy composed in 1581, but not printed till 1595, was written in manlier English than the Arcadia, and is one of the very few books of criticism belonging to a creative and uncritical time.
"I repeat, that you may command me," returned Mr. Jonson, gracefully putting his hand to his heart. "Pray, then," said I, "to come at once to the point, how long have you been acquainted with Mr. Thomas Thornton?" "For some months only," returned Job, without the least embarrassment. "And Mr. Dawson?" said I. A slight change came over Jonson's countenance: he hesitated.
Neither of them takes Sallust's presentment of the character of Catiline as if it were gospel, but, while holding exact touch with the narrative, each contrives to add a native grandeur to the character of the arch-conspirator, such as his original detractors denied him. In both poems, Ben Jonson's and Ibsen's, Catiline is Armed with a glory high as his despair.
All this, and much more of the same sort, we must steadfastly believe before we can be Baconians, for only by believing these doctrines can we get rid of Ben Jonson's testimony to the authorship of Will Shakspere, Gent. Let us now examine a miracle and mystery in which the Baconians find nothing strange; nothing that is not perfectly normal.
These lines and they are not the whole of the poem are enough to illustrate the difference between the Greek method and the English, the latter rich and profuse, following the flow of an opulent fancy, the former reticent and restrained, leaving the reader's imagination room and need to play its part. There are materials for half-a-dozen epigrams in Ben Jonson's poem.
Yet in poetical pictures of the mother the reader seldom finds anything patently explaining genius in her child. The glimpse we have of Ben Jonson's mother is an exception. A twentieth century poet conceives of the woman who was "no churl" as In the usual description, however, there is none of this dynamic force. One might almost conclude that poets consider their maternal heritage indispensable.
Ben Jonson relates that he fulfilled Overbury's wish 'with excellent grace, at the same time praising the author. Next morning he fell out with Overbury, who would have him to make an unlawful proposal to Lady Rutland. But how, we may ask, was it possible that Jonson's noble friend could at all think of trying to use him as a go-between in this shameful manner?
The N.E.D. quotes this passage, cf. Jonson's Volpone, Act v, sc. II: 'I must ha' my crotchets! And my conundrums! Dic. Cant. Crew has: 'Conundrums. Whimms, Maggots and such like. p. 222 jiggiting. To jigget = to jig, hop or skip; to jump about, and to fidget, cf.
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