masques and other entertainments far into the reign of King
Charles; but, towards the end, a quarrel with Jones embittered his
life, and the two testy old men appear to have become not only a
constant irritation to each other, but intolerable bores at court.
In "Hymenaei," "The Masque of Queens," "Love Freed from Ignorance,"
"Lovers made Men," "Pleasure Reconciled to Virtue," and many more
will be found Jonson's aptitude, his taste, his poetry and
inventiveness in these by-forms of the drama; while in "The Masque
of Christmas," and "The Gipsies Metamorphosed" especially, is
discoverable that power ofbroad comedy which, at court as well as
in the city, was not the least element of Jonson's contemporary
popularity.

But Jonson had by no means given up the popular stage when he
turned to the amusement of King James. In 1605 "Volpone" was
produced, "The Silent Woman" in 1609, "The Alchemist" in the
following year. These comedies, with "Bartholomew Fair," 1614,
represent Jonson at his height, and for constructive cleverness,
character successfully conceived in the manner of caricature, wit
and brilliancy of dialogue, they stand alone in English drama.
"Volpone, or the Fox," is, in a sense, a transition play from the
dramatic satires of the war of the theatres to the purer comedy
represented in the plays named above. Its subject is a struggle of
wit applied to chicanery; for among its 'dramatis personae', from
the villainous Fox himself, his rascally servant Mosca, Voltore
(the vulture), Corbaccio and Corvino (the big and the little
raven), to Sir Politic Would-be and the rest, there is scarcely a
virtuous character in the play. Question has been raised as to
whether a story so forbidding can be considered a comedy, for,
although the plot ends in the discomfiture and imprisonment of the