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Updated: June 1, 2025
Sir Walter Raleigh founded a club at the "Mermaid Tavern," where, in addition to Shakespeare and Ben Jonson, Beaumont and Fletcher, together with many other dramatists of note, spent their leisure hours. In Southwark the "Tabard Inn" enjoyed the fame conferred upon it by Geoffrey Chaucer, as well as the additional honour of his patronage, before Shakespeare arrived.
The present building is a square and lofty mansion of castellated appearance, with towers at the corners built of brown stone; in it the Earl of Newcastle, who subsequently inherited it, spent on one occasion $75,000 in entertaining King Charles I., the entire country round being invited to come and attend the king: Ben Jonson performed a play for his amusement.
It must, then, in sober reasoning be admitted, that our mere abhorrence of so much destruction is no guidance to our judgment on this point; and that for anything we can see of the plans of Providence, an entanglement of our globe with a comet may take place any day, with consequences incalculably damaging for the meantime, though not conclusively destructive, and perhaps necessary as a step towards an improved system of things the bringing in of what Ben Jonson calls 'an age of better metal.
Jonson, indignant at the small estimate in which his arduously composed works were received, ill-humoured by their want of success, looked enviously upon Shakspere, who had not been academically schooled; who audaciously overthrew the customs of the antique drama; who made his own rules, or rather, who made himself a rule to others; who created metrics that were peculiarly his; who chose themes hitherto considered non-permissible, and unusual with Greeks and Romans; who flung the 'three unities' to the winds; and who, nevertheless, had an unheard-of success!
This secondary species died again nearly with Jonson himself; the only subsequent production in this way of any fame is the Comus of Milton.
Hood, Praed, Macaulay, Taylor, Darley, Beddoes, Hartley Coleridge, Horne, are not to Wordsworth or Coleridge, to Byron or to Shelley, what the later so-called Elizabethan playwrights are to Jonson and Fletcher, the later poets of the same time to Spenser and Donne.
Is not this applicable to many of our present-day Pantomimes, which, as I have just stated in the previous chapter, the Masque was one of the original progenitors? Inigo Jones and Jonson first collaborated in the "Masque of Blackness," performed at Whitehall on Twelfth Night, 1603. In our money this Masque cost some £10,000.
We know that Michael Drayton and Ben Jonson visited him at New Place, and it is a tradition that their visits were celebrated in convivial fashion. At the same time there would have been certain restraints upon a very free life, even had the poet been disposed to lead one. Society in small country towns is notoriously inclined to be intolerant, and Shakespeare's son-in-law, Dr.
And with the poetical topographer such honors abounded. Not only was he gratified with the zealous labors of Selden in illustration of the "Polyolbion," but his death was lamented in verse of Jonson, upon marble supplied by the Countess of Dorset: The Laureateship, we thus discover, had not, down to the days of James, become an institution. Our mythical series shrink from close scrutiny.
I cannot myself but regard the elements of witchcraft and fairy employed by Jonson as far more in harmony not only with Robin Hood and his men, but also with the shepherds of Belvoir vale, than would have been the oracles, satyrs, and other outworn machinery of regular pastoral tradition.
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