Page:A study of Ben Jonson (IA studyofbenjonson00swinrich).pdf/97

 cluding an antimasque, in which the serious part is relieved and set off by the introduction of parody or burlesque, was a form of art or artificial fashion in which incongruity was a merit; the grosser the burlesque, the broader the parody, the greater was the success and the more effective was the result: but in a dramatic attempt of higher pretention than such as might be looked for in the literary groundwork or raw material for a pageant, this intrusion of incongruous contrast is a pure barbarism—a positive solecism in composition. The collocation of such names and such figures as those of Æglamour and Earine with such others as Much and Maudlin, Scathlock and Scarlet, is no whit less preposterous or less ridiculous, less inartistic or less irritating, than the conjunction in Dekker's Satiromastix of Peter Flash and Sir Quintilian, Sir Adam Prickshaft and Sir Vaughan ap Rees, with Crispinus and Demetrius, Asinius and Horace: and the offence is graver, more inexcusable and more inexplicable, in a work of pure fancy or imagination, than in a work of poetic invention crossed and chequered with controversial satire. Yet Gifford, who can hardly find words or occasions sufficient to express his sense of Dekker's 'inconceivable folly,' or his