The characters in his plays are, in the strictest sense of the term, abstractions. Some very prominent feature is taken from the whole man, and that single feature or humour is made the basis upon which the entire character is built up. Ben Jonson's 'dramatis personae' are almost as fixed as the masks of the ancient actors; you know from the first scene--sometimes from the list of names--exactly what every one of them is to be. He was a very accurately observing man; but he cared only to observe what was external or open to, and likely to impress, the senses. He individualizes, not so much, if at all, by the exhibition of moral or intellectual differences, as by the varieties and contrasts of manners, modes of speech and tricks of temper; as in such characters as Puntarvolo, Bobadill, &c. I believe there is not one whim or affectation in common life noted in any memoir of that age which may not be found drawn and framed in some corner or other of Ben Jonson's dramas; and they have this merit, in common with Hogarth's prints, that not a single circumstance is introduced in them which does not play upon, and help to bring out, the dominant humour or humours of the piece. Indeed I ought very particularly to call your attention to the extraordinary skill shown by Ben Jonson in contriving situations for the display of his characters. In fact, his care and anxiety in this matter led him to do what scarcely any of the dramatists of that age did--that is, invent his plots. It is not a first perusal that suffices for the full perception of the elaborate artifice of the plots of the Alchemist and the Silent Woman;--that of the former is absolute perfection for a necessary entanglement, and an unexpected, yet natural, evolution. Ben Jonson exhibits a sterling English diction, and he has with great skill contrived varieties of construction; but his style is rarely sweet or harmonious, in consequence of his labour at point and strength being so evident. In all his works, in verse or prose, there is an extraordinary opulence of thought; but it is the produce of an amassing power in the author, and not of a growth from within. Indeed a large proportion of Ben Jonson's thoughts may be traced to classic or obscure modern writers, by those who are learned and curious enough to follow the steps of this robust, surly, and observing dramatist. [Footnote: 1: From Mr. Green's note. 'Ed.'] Beaumont. Born, 1586.--Died, 1616. Fletcher. Born, 1576.--Died, 1625.