tempt the reader to apostrophize the poet in his own words:—
You are so covetous still to embrace
More than you can, that you lose all.
Yet a word of parting praise must be given to Satan: a small part as far as extent goes, but a splendid example of high comic imagination after the order of Aristophanes, admirably relieved by the low comedy of the asinine Pug and the voluble doggrel of the antiquated Vice.
Not till nine years after the appearance of this play, in which the genius of the author may be said—in familiar phraseology—to have fallen between two stools, carrying either too much suggestion of human interest for a half allegorical satire, or not enough to give actual interest to the process of the satirical allegory, did Ben Jonson produce on the stage a masterpiece of comedy in which this danger was avoided, this difficulty overcome, with absolute and triumphant facility of execution. In the meantime, however, he had produced nine masques—or ten, counting that which appeared in the same year with his last great work of comic art. The Masque of Christmas.The Masque of Christmas, which belongs to the same year as the two works last mentioned, is a com-
