Page:A study of Ben Jonson (IA studyofbenjonson00swinrich).pdf/86

the chambermaid. Her young suitor is at least as good a picture of a generous light-headed prodigal as ever was shown on any stage: as much of a man as Charles Surface, and very much more of a gentleman. The miserly uncle, though very well drawn, is less exceptionally well drawn: but Pennyboy Canter, the disguised father, is equally delightful from the moment of his entrance with an extempore carol of salutation on his lips to those in which he appears to rescue the misused Infanta from the neglectful favourite of her choice, and reappears at the close of the play to rescue his son, redeem his brother, and scatter the community of jeerers: to whose humour Gifford is somewhat less than just when he compares it with 'the vapouring in Bartholomew Fair': for it is neither coarse nor tedious, and takes up but very little space; and that not unamusingly. As for the great scene of the Staple, it is one of the most masterly in ancient or modern comedy of the typical or satirical kind. The central 'Office' here opened, to the great offence (it should seem) of 'most of the spectators'—a fact which, as Gifford justly remarks, 'argues very little for the good sense of the audience,—may be regarded by a modern student as representing the narrow little