Page:A study of Ben Jonson (IA studyofbenjonson00swinrich).pdf/67

 of ravenous malignity and irrational atrocity that he simply impresses us as an irresponsible though criminal lunatic: and there is something so preposterous, so abnormal, in the conduct and language of all concerned in his conspiracy, that nothing attributed to them seems either rationally credible or logically incredible. Coleridge, in his notes on the first act of this play, expresses his conviction that one passage must surely have fallen into the wrong place—such action at such a moment being impossible for any human creature. But the whole atmosphere is unreal, the whole action unnatural: no one thing said or done is less unlike the truth of life than any other: the writing is immeasurably better than the style of the ranting tragedian Seneca, but the treatment of character is hardly more serious as a study of humanity than his. In fact, what we find here is exactly what we find in the least successful of Jonson's comedies: a study, not of humanity, but of humours. The bloody humour of Cethegus, the braggart humour of Curius, the sluggish humour of Lentulus, the swaggering humour of Catiline himself—a huffcap hero as ever mouthed and strutted out his hour on the stage—all these alike fall under the famous definition of his favourite phrase which