But the pretty story of the
beggar-maiden, Rachel, and her suitors, Jonson found, not among the
classics, but in the ideals of romantic love which Shakespeare had
already popularised on the stage. Jonson never again produced so
fresh and lovable a feminine personage as Rachel, although in other
respects "The Case is Altered" is not a conspicuous play, and, save
for the satirising of Antony Munday in the person of Antonio
Balladino and Gabriel Harvey as well, is perhaps the least
characteristic of the comedies of Jonson.
"Every Man in His Humour," probably first acted late in the summer
of 1598 and at the Curtain, is commonly regarded as an epoch-making
play; and this view is not unjustified. As to plot, it tells
little more than how an intercepted letter enabled a father to
follow his supposedly studious son to London, and there observe his
life with the gallants of the time. The real quality of this
comedy is in its personages and in the theory upon which they are
conceived. Ben Jonson had theories about poetry and the drama, and
he was neither chary in talking of them nor in experimenting with
them in his plays. This makes Jonson, like Dryden in his time, and
Wordsworth much later, an author to reckon with; particularly when
we remember that many of Jonson's notions came for a time
definitely to prevail and to modify the whole trend of English
poetry.
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