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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. First of all Jonson was a classicist, that is, he believed
in restraint and precedent in art in opposition to the prevalent
ungoverned and irresponsible Renaissance spirit. Jonson believed that
there was a professional way of doing things which might be reached
by a study of the best examples, and he found these examples for the
most part among the ancients. To confine our attention to the drama,
Jonson objected to the amateurishness and haphazard nature of many
contemporary plays, and set himself to do something different; and the
first and most striking thing that he evolved was his conception and
practice of the comedy of humours.
As Jonson has been much misrepresented in this matter, let us quote his

own words as to "humour." A humour, according to Jonson, was a bias
of disposition, a warp, so to speak, in character by which
"Some one peculiar quality Doth so possess a man, that it doth draw All
his affects, his spirits, and his powers, In their confluctions, all to run
one way."
But continuing, Jonson is careful to add:
"But that a rook by wearing a pied feather, The cable hat-band, or the
three-piled ruff, A yard of shoe-tie, or the Switzers knot On his French
garters, should affect a humour! O, it is more than most ridiculous."
Jonson's comedy of humours, in a word, conceived of stage personages
on the basis of a ruling trait or passion (a notable simplification of
actual life be it observed in passing); and, placing these typified traits
in juxtaposition in their conflict and contrast, struck the spark of
comedy. Downright, as his name indicates, is "a plain squire";
Bobadill's humour is that of the braggart who is incidentally, and with
delightfully comic effect, a coward; Brainworm's humour is the finding
out of things to the end of fooling everybody: of course he is fooled in
the end himself. But it was not Jonson's theories alone that made the
success of "Every Man in His Humour." The play is admirably written
and each character is vividly conceived, and with a firm touch based on
observation of the men of the London of the day. Jonson was neither in
this, his first great comedy (nor in any other play that he wrote), a
supine classicist, urging that English drama return to a slavish
adherence to classical conditions. He says as to the laws of the old
comedy (meaning by "laws," such matters as the unities of time and
place and the use of chorus): "I see not then, but we should enjoy the
same licence, or free power to illustrate and heighten our invention as
they [the ancients] did; and not be tied to those strict and regular forms
which the niceness of a few, who are nothing but form, would thrust
upon us." "Every Man in His Humour" is written in prose, a novel
practice which Jonson had of his predecessor in comedy, John Lyly.
Even the word "humour" seems to have been employed in the
Jonsonian sense by Chapman before Jonson's use of it. Indeed, the
comedy of humours itself is only a heightened variety of the comedy of
manners which represents life, viewed at a satirical angle, and is the
oldest and most persistent species of comedy in the language. None the
less, Jonson's comedy merited its immediate success and marked out a

definite course in which comedy long continued to run. To mention
only Shakespeare's Falstaff and his rout, Bardolph, Pistol, Dame
Quickly, and the rest, whether in "Henry IV." or in "The Merry Wives
of Windsor," all are conceived in the spirit of humours. So are the
captains,