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Hence such strange appellatives as Sir Epicure Mammon, Sir Amorous La Foole, Morose, Wellbred, Downright, Fastidius Brisk, Volpone, Corbaccio, Sordido, and Fallace. After the Restoration, Jonson, Beaumont and Fletcher, and Massinger were, for a time, more popular than Shakespeare; so that the label-names seemed to have the sanction of the giants that were before the Flood.
The explanation does not lie merely in the contrast between "conventional" comedy and "realistic" drama. The fashion of label-names, if we may call them so, came down from the Elizabethans, who, again, borrowed it from the Mediaeval Moralities.
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