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When Montaigne, in 'Hamlet' as Jonson says became the target of 'railing rhetoric, the latter took sides with Florio and his colleagues; launching out against Shakspere in his comedy, 'Volpone. This play, as well as an Introduction in which it is dedicated to the two Universities, gives us a clue to a great many things otherwise difficult to understand.
There are some admirable scenes in Ben Jonson's Volpone, showing the humours of a legacy-hunter, and the different ways of fobbing him off with excuses and assurances of not being forgotten. Yet it is hardly right, after all, to encourage this kind of pitiful, barefaced intercourse without meaning to pay for it, as the coquette has no right to jilt the lovers she has trifled with.
Do we go too far in thinking that 'Hamlet' is the play which is made the target of allusions in this very Prologue? However, we proceed at once to the Interlude which follows after the first scene of the first act of 'Volpone. In it, Shakspere himself is practically put on the stage, by being asked: how of late thou hast suffered translation, And shifted thy coat in these days of reformation.
White's books afford me some entertainment, especially an odd volume of Ben Jonson's plays, containing "Volpone," "The Alchemist," "Bartholomew Fair," and others. "The Alchemist" is certainly a great play.
Cynthia's Revels was a satire on the courtiers and the Poetaster on Jonson's literary enemies. The Alchemist was an exposure of quackery, and is one of his best comedies, but somewhat overweighted with learning. Volpone is the most powerful of all his dramas, but is a harsh and disagreeable piece; and the state of society which it depicts is too revolting for comedy.
Some of the younger peers could not help laughing at this undesigned sarcasm upon the lord-treasurer, whom Sacheverel had reviled under the name of Volpone; they exclaimed, "Name him, name him;" and in all probability the zealous bishop, who was remarkable for absence of mind and unguarded expressions, would have gratified their request, had not the chancellor, interposing, declared that no peer Was obliged to say more than he should think proper.
7: Satiromastix, 1602. 8: Collier's Drama, i. 334. 9: Poetaster. 10: Compare his Dedication in Volpone, of which we shall have more to say. 11: Drummond's Conversations. 12: Of all styles, Jonson liked best to be named 'Honest; and he 'hath ane hundred letters so naming him. Conversations with Drummond. 13: Life of Dryden, p. 265. 14: By Aubrey called 'Jack Young.
In the observance of the technical rules of the classic drama this much Jonson could certainly prove to the world he was superior to Shakspere. The severe words: 'monstrous and forced action, can only refer to a drama written not long before; for, in 'Volpone, Jonson wishes to give to the stage-poets of his time his own ideal of a drama.
From all his plays we may select three that will best repay reading: Volpone, The Alchemist, and The Silent Woman. Volpone is the story of an old, childless, Venetian nobleman whose ruling passion is avarice. Everything else in the play is made tributary to this passion. The first three lines in the first act strike the keynote of the entire play. Volpone says:
SOLON: Eleg. YOU still are what you were, sir! ...... ... With most quick agility could turn And return; make knots and undo them, Give forked counsel. Volpone, or the Fox. BEFORE a large table, covered with parliamentary papers, sat Lumley Lord Vargrave. His complexion, though still healthy, had faded from the freshness of hue which distinguished him in youth.
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