a superficial reading of a single act chosen at random. This most obvious and easily imitable trait of Jonson's work was most closely copied by Brome, Marmion, Glapthorne, Cokayne, and Cartwright, and to a marked degree by Mayne, Nabbes, and even Shirley and Davenant. However, outside of Jonson himself, there is no such gallery of caricature in English drama as Brome presents.

I have already given a summary of the types to be found in the comedies of manners.1 In the treatment of all, the manner is most Jonsonian, and in the case of most of them prototypes may be found. The jealous husband, a character of all drama everywhere, need not be considered a Jonsonian imitation. He occurs, however, in exaggerated form in Kitely, Fitzdotterel, and Corvino. The citizen's wife of light reputation, such a favorite with Brome, may be found exemplified in Fallace and Chloe. The idea of the old justice, whom Brome has made the most prominent of his figures, was doubtless suggested by Clement, Overdo, Eitherside, and Preamble. Cockbraine, in Covent Garden Weeded, even alludes to Overdo as his ancestor, though the relationship is obvious enough without the acknowledgment. In their interest in ancestry, Letoy, in the Antipodes, and Buzzard, in the English Moor, show that they are relatives of Sir Amorous La Foole. Of foolish countrymen there are Kastrill and Master Stephen. Tim Hoyden, who goes to London to be made a gentleman, is rather like Sogliardo, who says (Every Man out of his Humor I. 1): 'Nay, look you, . . . this is my humor now I have land and money, 1 See above, p. 65.

4

2 It is interesting to note that Bassanes, in Ford's Broken Heart, and Dariotto, in Chapman's All Fools, show as wild exaggerations of this humor in romantic plays as any of Jonson's characters, or even as old Joyless in the Antipodes.

8 See, however, Influence of Dekker,' below, p. 106.

• Sparagus Garden (Faust, op. cit., p. 67).

my friends left me well, and I will be a gentleman whatsoever it cost me.' The braggart Anvile, in the Northern Lass, is an echo of Bobadil. Dr. Faust has also mentioned Captain Driblow, in Covent Garden Weeded, as another descendant. Brome's blunt servingmen have their prototypes in Humphrey Waspe, Basket Hilts, and Onion. The clever servant, Jeremy, who helps his master in his trickery in the City Wit, bears some resemblance to Brainworm and Mosca. Dol Common I have alluded to before as the possible original of the many obliging harlots whom Brome introduces as ready conspirators in the cause of virtue or of vice. Finally, we have Abel Drugger, the city gull; Sir Moth Interest, the usurer money-bawd'; Dame Pliant, the widow with a foolish desire to learn fashion; the Puritans of Bartholomew Fair; and the projectors of the Devil is an Ass and Volpone, all of whom are repeated, though not with especially servile parallels, in Brome.

or

To show further to what an extent Brome carried Jonsonian humor-study, I may mention the New Academy, in which nine characters, practically all in the play except the two pairs of lovers, are very markedly exaggerated types. Moreover, there are a number of characters throughout the plays which, though without direct antecedents in Jonson, are drawn strictly in his manner. Such are the pedants Geron, in the Lovesick Court, and Sarpego, in the City Wit1; the three wits of the court, the city, and the country in the Court Begger, who converse in the same episodic manner as the ' ladies collegiate'; Crosswill, whose eccentricity controls the plot of Covent Garden Weeded, as Morose's does that of the

1 Clove in Every Man out of his Humor is, as Faust (op. cit., p. 51) remarks, the nearest of Jonson's characters to Sarpego, but I do not think he is an actual prototype.

Silent Woman; and Pyannet Sneakup, the very amusingly depicted shrew of the City Wit.

The use of the humor-phrase as a tag to the speeches of a character—the trick so much employed by Dickensis not a marked characteristic of Jonson. In Bartholomew Fair, Knockem's fondness for the word ' vapors' and Troubleall's warrant of Justice Overdo,' are examples.1 The definition Jonson gives of a humor, in the Induction to Every Man Out, seems to discountenance the overworking of this rather shallow comic device. Brome also uses this with great moderation-in fact, not any more frequently than his master. Saleware's Sapientia mea mihi,' and 'Never the sooner for a hasty word,' in the Mad Couple well Matched, 'Must we then speak together,' of the Justice in the Jovial. Crew, and 'Our master is no snail,' the phrase of all the servants in the same play, are the most striking occurrences of the humorphrase.

In the imitations of structure, scenes, and portrayal of character, Brome has merely gone further than any other of the Sons of Ben,' but in imitation of satiric method he is practically the only follower. Purely satiric passages in the severe manner of the elder dramatist are rare in the works of the others. In Brome, of course, the satire is merely an echo, without the forceful personality of Jonson.

Though Jonson is essentially a satirist throughout most of his work, he has a definite moral aim in only four plays. He speaks of making his morality palatable with humor, but, in practice, humor is ordinarily the main purpose with him. Brome, in imitating him, lashes

1 Nym's 'humors,' in the Merry Wives, and two similar mannerisms of speech in Eastward Hoe and the Merry Devil of Edmonton, are other examples.

2 Woodbridge, op. cit., pp. 27 ff.

folly, but very seldom vice; he never has any moral purpose.1 Humor is his aim always; satire is merely one means of producing it. By this change in emphasis Brome has avoided two pitfalls that Jonson's greater love of satire led him into-allegory and personal satire. Jonson disclaims ever making personal references, but Cynthia's Revels and the Poetaster certainly show that he did. But Brome, in disclaiming all attempt at personalities in the Antipodes, is making a statement that holds true for all his extant work.

In the follies and shams he selects to satirize, however, and in the blunt directness of the manner of his satiric passages, Brome follows Jonson closely. I quote two examples on a favorite theme with both authors:

:

Principles to be imprinted in the heart of every new made gentleman To commend none but himselfe to like no mans wit but his owne to slight that which he understands not: to lend mony and never look for't agen: to take up upon obligation, and lend out upon affection to owe much, but pay little to sell land but buy none to pawn, but never to redeem agen: to fight for a whore to cherish a Bawd, and defie a tradesman. (Sparagus Garden 4. 9, p. 194)

:

Ile tell you a briefe character was taught me. Speake nothing that you mean, performe nothing that you promise, pay nothing that you owe, flatter all above you, scorne all beneath you, deprave all in private, praise all in publike; keep no truth in your mouth, no faith in your heart; no health in your bones, no friendship in your mind, no modesty in your eyes, no Religion in your conscience; but especially no Money on your Purse. (City Wit 3. 2, p. 306.)

Though I can find no verbal parallel to these passages in Jonson, the general tone of them, and many of the ideas,

1 The dupes in the City Wit are tricked because of their dishonesty, and virtue presides over the solution, but the aim of the play is purely comic.

are to be found in the satiric dialogue in the first part of the first scene of Every Man Out.1

The following passage on the origin of fashions has also a certain Jonsonian bluntness, though here again there is no direct parallel :

I am for the naked Neck and Shoulders, then.

For (I tell you Mistress) I have a white Skin,

And a round straight Neck; smooth and plump Shoulders,
Free from French Flea-bits, and never a wrinckle

Neare 'em though I say't.

"T has been suggested by invective men,
Women to justifie themselves that way.
Began that fashion. As one tother side,
The fashion of mens Brow-locks was perhaps
Devis'd out of necessity, to hide

An il-graced forehead; Or besprinkled with
The outward Symptoms of some inward griefe.

As, formerly the Saffron-steeped Linnen,

By some great man found usefull against Vermine,

Was ta'ne up for fashionable wearing.

Some lord that was no Niggard of his Beauty,

Might bring up narrow brims to publish it.

Another to obscure his, or perhaps

To hide defects thereof, might bring up broad ones,

As questionless, the straight, neat timbered leg,

First wore the Troncks, and long Silk-hose; As likely
The Baker-knees, or some strange shamble shanks
Begat the Ancle breeches.

(Damoiselle 5. 1,

p. 456.)

The dialogue in which this passage occurs also has some hits at woman's affectations and face-painting-themes which Jonson never tires of. The same thing is referred to in the City Wit (2. 2, p. 300), where Crasy, disguised as a doctor, says: 'As for Gellies, Dentifrices, Diets, Mineral Fucusses, Pomatums, Fumes, Italian Masks to

1 Cf. also Marmion's reminiscence of the same passage in Holland's Leager 2. 5, p. 41.