a relation created by himself to his God and to the world.

We proceed to an examination of 'Volpone,' of that play which Jonson sent as a counter-thrust after 'Hamlet,' and from which, as regards our Hamlet-Montaigne theory, we hope to convince our readers in the clearest manner possible.

VI.

'VOLPONE,' by Ben Jonson.

'EASTWARD HOE,' by Chapman, Ben Jonson, and Marston.

THE MALCONTENT,' by John Marston.

VI.

'VOLPONE.'

BEN JONSON'S 'Volpone' was first acted in 1605; and on February 11, 1607, it appeared in print.' It is preceded by a Dedication, in which the author dedicates 'both it and himself' to 'the most noble and most equal sisters, the two famous Universities,' in grateful acknowledgment for their love and acceptance shown to this Poem in the presentation.'

In this Dedication the most passionate language is used against all contemporary poets-especially against those who now, he says, practise 'in dramatic, as they term it: stage-poetry, nothing but ribaldry, profanation,' and all licence of offence to God and man.' Their petulancy, he continues, ' hath not only rapt me to present indignation, but made me studious heretofore;' for

1

Volpone is stated to have been first acted in the Globe Theatre in 1605. It is simply impossible that this drama, in its present shape, should have been given in that theatre as long as Shakspere was actively connected with it. We therefore must assume that Shakspere-as Delius holds it to be probable-had at that time already withdrawn to Stratford, or that the biting allusions which are contained in Volpone against the great Master, had been added between 1605 (the year of its first performance) and 1607 (the year of its appearance in print). We consider the latter opinion the likelier one, as we suspect, from allusions in Epicoene (see p. 183), that Shakspere, when this play was published, still resided in London. However, it is also probable that in 1605 he may for a while have withdrawn from the stage.

by them 'the filth of the time is uttered, and with such impropriety of phrase, such plenty of solecisms, such dearth of sense, so bold prolepses, so racked metaphors, with brothelry able to violate the ear of a pagan, and blasphemy to turn the blood of a Christian to water.'

Jonson expresses his purpose of standing off from them (the stage-poets) by all his actions.' Solemnly he utters this vow:- I shall raise the despised head of poetry again, and, stripping her out of those rotten and base rags wherewith the times have adulterated her form, restore her to her primitive habit, feature, and majesty, and render her worthy to be embraced and kist of all the great and master-spirits of our world.' This object of his-he adds-' may most appear in this my latest work (Volpone'), which you, most learned Arbitresses, have seen, judged, and, to my crown, approved; wherein I have laboured for their instruction and amendment, to reduce, not only the ancient forms, but manners of the scene, the easiness, the propriety, the innocence, and last, the doctrine, which is the principal end of poesie, to inform men in the best reason of living.'

All contemporary dramatists are most pitilessly condemned by Ben Jonson, and the cause of his present indignation is clearly stated: 'A name so full of authority, antiquity, and all great mark, is, through their insolence, become the lowest scorn of the age; moreover, my (Jonson's) fame, and the reputation of divers honest and learned, are the question'-that is to say, have been injured.