neither in this, his first great comedy (nor in any other play that
he wrote), a supine classicist, urging that English drama return to
a slavish adherence to classical conditions. He says as to the
laws of the old comedy (meaning by "laws," such matters as the
unities of time and place and the use of chorus): "I see not then,
but we should enjoy the same licence, or free power to illustrate
and heighten our invention as they [the ancients] did; and not be
tied to those strict and regular forms which the niceness of a few,
who are nothing but form, would thrust upon us." "Every Man in His
Humour" is written in prose, a novel practice which Jonson had of
his predecessor in comedy, John Lyly. Even the word "humour" seems
to have been employed in the Jonsonian sense by Chapman before
Jonson's use of it. Indeed, the comedy of humours itself is only a
heightened variety of the comedy of manners which represents life,
viewed at a satirical angle, and is the oldest and most persistent
species of comedy in the language. None the less, Jonson's comedy
merited its immediate success and marked out a definite course in
which comedy long continued to run. To mention only Shakespeare's
Falstaff and his rout, Bardolph, Pistol, Dame Quickly, and the
rest, whether in "Henry IV." or in "The Merry Wives of Windsor,"
all are conceived in the spirit of humours. So are the captains,
Welsh, Scotch, and Irish of "Henry V.," and Malvolio especially
later; though Shakespeare never employed the method of humours for
an important personage. It was not Jonson's fault that many of his
successors did precisely the thing that he had reprobated, that is,
degrade "the humour: into an oddity of speech, an eccentricity of
manner, of dress, or cut of beard." There was an anonymous play
called "Every Woman in Her Humour." Chapman wrote "A Humourous
Day's Mirth," Day, "Humour Out of Breath," Fletcher later, "The
Humourous Lieutenant," and Jonson, besides "Every Man Out of His