Ben Jonson-The Classicist

Ben Jonson-The Classicist

Ben Jonson A great critic

Ben Jonson was the greatest English critic between Sidney and Dryden. He had a strong masculine intellect, a sound deep basis of classical learning and an abundant fund of common sense. His criticism is scattered everywhere: it occurs in prefaces to his plays, and in the plays them- selves (The Poetaster is almost criticism dramatized); and we have, further, the record of his conversations (1618-19) with the Scottish poet Drummond, and his miscellaneous notes known as Discoveries.

Ben Jonson's View about classical rules 

In the Induction of Every Man Out of His Humour Jonson shows himself as a true Elizabethan in his plea that drama is not entirely to bow to classical rules. Although we think of Jonson as the learned writer of classical rather than romantic plays, he speaks, here and in the preface to Sejanus, as one having authority himself and justified in accepting only so much of classical authority as he sees fit. Thus in the latter preface he pleads: "If in truth of argument, dignity of persons, gravity and height of elocution, fullness and frequency of sentence, I have discharged the other offices of a tragic writer, let not the absence of these Forms (i.e., the classical rules) be imputed to me".

Ben Jonson's Not a one-sided critic

From the conversations with Drummond we cannot deduce any consistent critical rules, for they are full of contradictory and dogmatic assertions. But they show us Jonson as by no means a one-sided critic-for instance, he both approves and disapproves of Donne.

Ben Jonson's Opinions about Shakespeare and Bacon 

For more coherent criticism we have to turn to his Discoveries (also known as Timber), published after his death and written at intervals probably between 1620 and 1637. It consists of notes made "upon men and matters as they have flowed out of his daily reading" Notable among these comments are the well-known remark on Shakespeare when he was told that Shakespeare never blotted a line: "Would he had blot- ted a thousand!" There is also the character-sketch of Bacon, in which Jonson says that Bacon's hearers "could not cough or look aside from him without loss". 

Ben Jonson's Views on prose and poetry

But the most substantial part of the Dis coveries is the discussion of prose style and of poetry. Here we begin to look with fair directness towards modern prose and the neo-classical school of poetry. For prose he insists upon the qualities of brevity, perspicuity, vigour, and discretion proceeding from ripeness of judgment. His common sense is seen in such a dictum as "Few words they darken the speech, and so do too many: as well too much light hurteth the eyes as too little." In talking of poetry he definitely insists on discipline, study, and imitation: "What we especially require in the poet is an exactness of study and multiplicity of reading." Jonson's ideal is not the carelessness of the Elizabethan poetic spirit, but careful polish-a poet must "bring all to the forge and file again", Here we see the critical temper which lies behind the school of Dryden and Pope-a preference for polish, elegance, correctness over freedom and variety. Two particular points in which Jonson, talking to Drummond, preluded Dryden and Pope were his advocacy of the closed couplet, and his dislike of sonnets and of stanzas with cross rhymes.

Ben Jonson Not blind to Shakespeare's faults

Ben Jonson was well aware of the strength and the weakness of the Elizabethan age. He loved Shakespeare and did" honour his memory, on this side idolatrys as much as any". But he was not therefore blind to Shakespeare's, shortcomings: "His wit was in his own power; would the rule of it had been so too".

Ben Jonson Tried to re-impose the classic order in a world of chaos 

The com- posed poetic spirit of Ben Jonson reacted in protest against the extravagances of an age that admired ungoverned self-expression, which was prone to bom- bast, rodomontade, reckless violence, cloying sweetness, imagery for the sake of imagery, the alluring sound of words for the sake of their sound. In a world in which he saw chaos, Jonson tried to re-impose the classic order. Seeking principles of order, restraint, harmony, he took his stand upon the precepts and the examples of the Greeks. He stated (and over-stated) the values of ancient example which the critics of the next generation exaggerated beyond all legitimate limits. Jonson dwelt upon the Greek principle of "nothing too much". He pleaded for "election and a mean", for proportion, fitness, propriety, for "a strict and succinct style" wherein "you can take away nothing without loss". He protested against "the scenical strutting and furious vociferation" of the "Tamerlanes" and "Tamer-chams" of his time.

Ben Jonson Re-stated the doctrine of the "Poetics"

Jonson restates the doctrine of the Poetics, only diverging from it to dot "is" which Aristotle never dotted, and to impose the unity of Time more emphatically than did the master. The difference between epic and drama, the meaning of fable or plot, the whole- ness" of an action, its dimensions- all these are explained in language which is little more than a paraphrase of Aristotle.

Ben Jonson Need of discipline 

Jonson's main concern was to impose some unques- tionate standard of excellence; to introduce discipline, where there was none; to set-limits where hyperbole was the besetting sin. 

Jonson's conditions of excellence 

Natural genius, according to Jonson, is the first requirement in an author. But the "perfection of nature" is not enough: "The best writers in their beginnings imposed upon themselves care and industry; they did nothing rashly; they obtained first to write well, and then custom made it easy and a habit. Another requisite is imitation. An author should be able to convert the substance or riches of another poet to his own use." Finally, Jonson demands "exactness of study and multiplicity of reading, which maketh a full man". Here we see a disciple of Bacon.

Ben Jonson No reliance upon mere maxims 

Although he is intent upon discipline of the mind both from within and without, Jonson does not rely just upon precepts and maxims, as ready guides to literary conduct. He is not in love with the grammarians, and he does not want literature to become a department of school-mastering: "I am not of that opinion to conclude a poet's liberty within the narrow limits of laws which either the grammarians or philosophers prescribe.

Ben Jonson No slavish obedience to authority 

The authority of Aristotle, as he writes these words, seems to be slipping away from under his feet; and all the more dangerously when he declares that " to judge of poets is only the faculty of poets; and not of all poets, but the best." He feels that the excellence of literature springs from what is excellent in the personality of the author. Expression is the business of art from beginning to end; and he puts it in memorable words: "In all speech, words and sense are as the body and the -soul. The sense is as the life and soul of language, without which all words are dead".

Ben Jonson A literary dictator

Jonson was a critic of great sanity and force. His reflections upon life and art reveal the solidity, aggressiveness, and down- right honesty of his mind. These qualities of aggressive decision and rugged honesty enabled him to hold for a quarter of a century his position of literary dictator and lord of the "tavern-wits". The qualities for which Jonson deserves admiration are solid rather than brilliant. In an age of imaginative licence he preached the need of restraint. In an age of hasty, careless workmanship he preached the need of sound construction and good finish. If the younger dramatists of his day had heeded him, English Drama would not have gone on deepening in extravagance and licence until it died, so to speak, of dissipation.