a circumstance," says Gifford, to whom I communicated it,
"not a little important in the history of our calumniated poet." The
trivial cause, but not so in its consequences, was the poet prefixing
his own name before that of the architect on the title-page of a Masque,
which hitherto had only been annexed;[7] so jealous was the great
architect of his _part_ of the Masque, and so predominant his power and
name at court, that he considered his rights invaded by the _inferior_
claims of the poet! Jonson has poured out the whole bitterness of his
soul in two short satires: still more unfortunately for the subject of
these satires, they provoked Inigo to sharpen his pen on rhyme; but it
is edgeless, and the blunt composition still lies in its manuscript
state.

While these researches had engaged my attention, appeared Gifford's
Memoirs of Ben Jonson. The characteristics of Masques are there, for the
first time, elaborately opened with the clear and penetrating spirit of
that ablest of our dramatic critics. I feel it like presumption to add
to what has received the finishing hand of a master; but his jewel is
locked up in a chest, which I fear is too rarely opened, and he will
allow me to borrow something from its splendour. "The Masque, as it
attained its highest degree of excellence, admitted of dialogue,
singing, and dancing; these were not independent of one another, but
combined, by the introduction of some ingenious fable, into an
harmonious whole. When the plan was formed, the aid of the sister-arts
was called in; for the essence of the Masque was pomp and glory.
Moveable scenery of the most costly and splendid kind was lavished on
the Masque; the most celebrated masters were employed on the songs and
dances; and all that the kingdom afforded of vocal and instrumental
excellence was employed to embellish the exhibition.[8] Thus
magnificently constructed, the Masque was not committed to ordinary
performers. It was composed, as Lord Bacon says, for princes, and by
princes it was played.[9] Of these Masques, the skill with which their
ornaments were designed, and the inexpressible grace with which they
were executed, appear to have left a vivid impression on the mind of
Jonson. His genius awakes at once, and all his faculties attune to
sprightliness and pleasure. He makes his appearance, like his own
Delight, 'accompanied with Grace, Love, Harmony, Revel, Sport, and
Laughter.'

"In curious knot and mazes so
The Spr