success of "Eastward Hoe" or for other reasons, the other three
comedies declare in the words of the prologue to "The Alchemist":

"Our scene is London, 'cause we would make known
No country's mirth is better than our own."

Indeed Jonson went further when he came to revise his plays for
collected publication in his folio of 1616, he transferred the
scene of "Every Man in His Humour" from Florence to London also,
converting Signior Lorenzo di Pazzi to Old Kno'well, Prospero to
Master Welborn, and Hesperida to Dame Kitely "dwelling i' the Old
Jewry."

In his comedies of London life, despite his trend towards
caricature, Jonson has shown himself a genuine realist, drawing
from the life about him with an experience and insight rare in any
generation. A happy comparison has been suggested between Ben
Jonson and Charles Dickens. Both were men of the people, lowly
born and hardly bred. Each knew the London of his time as few men
knew it; and each represented it intimately and in elaborate
detail. Both men were at heart moralists, seeking the truth by the
exaggerated methods of humour and caricature; perverse, even
wrong-headed at times, but possessed of a true pathos and largeness
of heart, and when all has been said -- though the Elizabethan ran
to satire, the Victorian to sentimentality -- leaving the world
better for the art that they practised in it.

In 1616, the year of the death of Shakespeare, Jonson collected his
plays, his poetry, and his masques for publication in a collective
edition. This was an unusual thing at the time and had been