pure. And even the interludes in which we hear the commentary and gather the verdict of 'these ridiculous gossips' (as their creator calls them) 'who tattle between the acts' are incomparably superior to his earlier efforts or excursions in the same field of humorous invention. The intrusive commentators on Every Man out of his Humour, for instance, are mere nullities—the awkward and abortive issue of unconscious uneasiness and inartistic egoism. But Expectation, Mirth, Tattle, and Censure, are genuine and living sketches of natural and amusing figures: and their dialogues, for appropriate and spirited simplicity, are worthy of comparison with even those of a similar nature which we owe not more to the genius than to the assailants of Molière.
The Masque of Owls.In 1625 Ben Jonson had brought out his last great comedy: in 1626 he brought out The last of his finer sort of masques. The little so-called Masque of Owls, which precedes it in the table of contents, is (as Gifford points out) no masque at all: it is a quaint effusion of doggrel dashed with wit and streaked with satire. The Fortunate Isles, and their Union.But in The Fortunate Isles, and their Union, the humour and verse are alike excellent: the jest on
