The easy flexure of his supple hams. That drunken custom would not shame to laugh, Mit. Forbear, good Asper; be not like your name. Cut shorter than their eye-brows! when the conscience More wretches than the counters. Mit. Gentle Asper, several 5 And with the words of Hercules, invade, &c.] Among the ancients, everything bold and undaunted was termed Herculean : thus Justin, in the preface to his Epitome, ascribes the intrepidity of Hercules to Trogus Pompeius: Nonne nobis, Pompeius Herculea audacia orbem terrarum adgressus videri debet? WHAL. Jonson, however, has taken the expression immediately from Juvenal: 6 sed pejores, qui talia verbis Herculis invadunt. and their hair Cut shorter than their eyebrows!] This too is from Juvenal, whose admirable description of the feigned Stoicks, Jonson evidently had in view in many parts of this dialogue. But the immediate objects of his satire, as Whalley justly observes, were the Puritans, who, among other singularities, affected to cut their hair short, and close to their heads; whence they had afterwards the appellation of Roundheads. This practice is alluded to in Eastward Hoe, where Wolf describing the penitence of Quicksilver in the Counter, says, "He has cut his hair too; he is so well given, and has such good gifts." A. v. Contain your spirit in more stricter bounds," Cor. Unless your breath had power To melt the world, and mould it new again, Asp. (turning to the stage). I not observed this Gracious and kind spectators, you are welcome ; With graceful objects, and may our Minerva Or servilely to fawn on your applause, Look through and through me, I pursue no favour; And I will give you music worth your ears. 7 Contain your spirit in more stricter bounds.] This expression is blamed by Dryden, who thinks that few writers of his time would be guilty of it. This may be true; but in Jonson's and, indeed, every preceding age, nothing was more common than to join the signs of the comparative and superlative degrees to the degrees themselves. That it did not originate either in negligence or ignorance may be learned from the poet, who thus speaks of it in his Grammar, a work of great skill, and profundity of research. "Furthermore, these adverbs more and most are added to the comparative and superlative degrees themselves, which should be before the positive. Thus Sir Thomas More, "She saw the cardinal more readier to depart than the remnant; for not only the high dignity of the civil magistrate, but the most basest handicraft are holy, when they are directed to the honour of God." And this is a certain kind of English atticism, or eloquent phrase of speech, imitating the manner of the most ancientest and finest Grecians, who for more emphasis and vehemency's sake, used so to speak." O, how I hate the monstrousness of time, Mit. In faith this humour will come ill to some, Asp. This humour? good! and why this humour, Mitis? Nay, do not turn, but answer. Mit. Answer, what? Asp. I will not stir your patience, pardon me, To give these ignorant well-spoken days Cor. O, do not let your purpose fall, good Asper; It cannot but arrive most acceptable, Chiefly to such as have the happiness Daily to see how the poor innocent word Is rack'd and tortured. Mit. Ay, I pray you proceed. Asp. O, I crave pardon, I had lost my thoughts. 8 How I hate, &c.] Jonson began already to take a high tone : --but whatever may be thought of his confidence, it is impossible not to be pleased with the spirit of this nervous speech. It is altogether in the best manner of antiquity; and, if it was spoken by Jonson, as is not very improbable, he might have informed the audience that they were unsuspectingly listening to the manly language of the Grecian stage. Or the founder of Cripplegate.] That the founder of Cripplegate was lame, must, if taken at all, be taken on the poet's word. Stow, somewhat better authority in a case of this nature, says that it was so called from the number of lame persons, who usually took their station there for the purpose of begging. The name (Porta Contractorum) is very ancient. Why, humour, as 'tis ens, we thus define it,1 And in itself holds these two properties, As when some one peculiar quality 1 As 'tis ens, we thus define it.] Ens is a term of the schools, and signifies a substance, or existence. WHAL. 2 This may be truly said to be a humour.] What was usually called the manners in a play or poem, began now to be called the humours. The word was new; the use, or rather abuse of it was excessive. It was applied upon all occasions, with as little judgment as wit. Every coxcomb had it always in his mouth; and every particularity he affected was denominated by the name of humour. To redress this extravagance, Jonson is exact in describing the true meaning, and proper application of the term. It hath been observed that the word, in the sense which he assigns it, is peculiar to our English language; but the quality intended by it is not peculiar to the people. Our poet's great excellence was the lively copying of these humorous characters. WHAL. The abuse of this word is well ridiculed by Shakspeare, in that amusing creature of whimsey, Nym. Merry Wives of Windsor. Steevens quotes a long epigram by way of illustrating the subject, without remarking that it is a mere copy, and, indeed, a very feeble But that a rook, by wearing a pyed feather, On his French garters, should affect a humour! Cor. He speaks pure truth; now if an ideot It is his humour. Asp. Well, I will Scourge those apes, satire Mit. Asper, (I urge it as your friend,) take heed, You might as well have told me, yond' is heaven, 23 Yes, Mitis, and their souls; and who they be But why enforce I this? as fainting? no. one, of this acute and pertinent disquisition. But Steevens knew little of Jonson. 3 Do I not know the time's condition,] i. e. the temper, quality, or disposition of the times. In this sense the word is used by Shakspeare and all our old writers. |