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 comparative baseness in the dramatic metal. In Volpone the tone of villainy and the tone of virtue are alike higher. Celia is a harmless lady, if a too submissive consort; Bonario is an honourable gentleman, if too dutiful a son. The Puritan and shopkeeping scoundrels who are swindled by Face and plundered by Lovewit are viler if less villainous figures than the rapacious victims of Volpone.

As to the respective rank or comparative excellence of these two triumphant and transcendent masterpieces, the critic who should take upon himself to pass sentence or pronounce judgment would in my opinion display more audacity than discretion. The steadfast and imperturbable skill of hand which has woven so many threads of incident, so many shades of character, so many changes of intrigue, into so perfect and superb a pattern of incomparable art as dazzles and delights the reader of The Alchemist is unquestionably unique—above comparison with any later or earlier example of kindred genius in the whole range of comedy, if not in the whole world of fiction. The manifold harmony of inventive combination and imaginative contrast—the multitudinous unity of various and concordant effects—the complexity and the simplicity of action and impression, which hardly