Clarendon), till he found he betook himself to business, which he believed ought never to be preferred before his company. He lived to be very old, and till the palsy made a deep impression upon his body and his mind."

From these accounts it may surely be inferred that Jon-son in his life-time occupied a high station in the literary world. So many memorials of character, and so many eulogiums on his talents, have not fallen to the lot of many writers of that age. His failings, however, appear to have been so conspicuous as to obscure his virtues. Addicted to intemperance, with the unequal temper which habitual intemperance creates, and disappointed in the hopes of wealth and independence, which his high opinion of his talents led him to form, degenerating even to the resources of a libeller who extorts from fear what is denied to genius, he became arrogant, and careless of pleasing even those with whom he associated. Of the coarseness of his manners there can be no doubt, but it appears at the same time that his talents were such as made his temper be tolerated for the sake of his conversation. As to his high opinion of himself, he did not probably differ from his contemporaries, who hailed him as the reformer of the stage, and as the most learned of critics; and it is no great diminu tion of his merit, that an age of more refinement cannot find enough to justify the superior light in which he was contemplated. It is sufficient that he did what had not been done before, that he displayed a judgment to which the stage had been a stranger, and furnished it with examples of regular comedy which have not been surpassed. His memory was uncommonly tenacious, and his learning certainly superior to that of most of his contemporaries. Pope gives him the praise of having "brought critical learning into vogue," and having instructed both the actors and spectators in what was the proper province of the dramatic muse. His" English Grammar," and his "Discoveries," both written in his advanced years, display an attachment to the interests of literature, and a habit of reflection, which place his character as a scholar in a very favourable point of view. The editor of a recent edition of his Discoveries, justly attributes to them "a closeness and precision of style, weight of sentiment, and accuracy of classical learning.'

Yet whatever may be thought of his learning, it is greatly over-rated, when opposed or preferred to the

genius of his contemporary Shakspeare. Jonson's learning contributed very little to his reputation as a dramatic poet. Where he seems to have employed it most, as in his "Cataline," it only enables him to encumber the tragedy with servile versifications of Sallust, when he should have been studying nature and the passions. Dryden, whose opinions are often inconsistent, considers Jonson as the greatest man of his age, and observes, that "if we look upon him when he was himself (for his last plays were but his dotages) he was the most learned and judicious writer any theatre In another place (preface to the "Mock Astrologer"), he says "that almost all Jonson's pieces were but crambe bis cocta, the same humour a little "varied and written worse."

ever had."

It is certain that his high character as a dramatic writer has not descended to us undiminished. Of his fifty dramas, there are not above three which preserve his name on the stage, but these indeed are excellent. It was his misfortune to be obliged to dissipate on court masks and pageants those talents which concentrated might have furnished dramas equal to his "Volpone," "Alchemist," and the "Silent Woman." Contrasted with the boundless and commanding genius of Shakspeare, Dr. Johnson has hit his character with success in his celebrated prologue.

"Then Jonson came, instructed from the school,
To please by method, and invent by rule.
His studious patience, and laborious art,
With regular approach assay'd the heart:
Cold approbation gave the ling'ring bays,

For they who durst not censure, scarce could praise." Among his poems there are few which can be specified as models of excellence. The "Hymn" from "Cynthia's, Revels," the "Ode to the Memory of sir Lucius Cary," and "Sir H. Morison," one of the first examples of the. Pindaric, or irregular ode, and some of his songs, and "Underwoods," are brightened by occasional rays of genius, and dignified simplicity, but in general he was led into glittering and fanciful thoughts, and is so frequently captivated with these as to neglect his versification. Although he had long studied poetry, it does not appear that he could pursue a train of poetical sentiment or imagery so far as to produce any great work. His best efforts were such as he could execute almost in the moment of conception, and frequently with an epigrammatic turn which is

very striking. He once meditated an epic poem, but his habitual irregularities and love of company denied the necessary perseverance.

His works were printed thrice in folio in the seventeenth century, and thrice in the eighteenth. The last edition in seven volumes, 8vo, with notes and additions by Mr. Whalley, appeared in 1756, and is esteemed the most valuable, but will probably be superseded by an edition which is said to be preparing by the acute editor of Massinger's works.1

JORDAENS (JACOB), a painter of history and portraits, possessed of very superior abilities in his art, was born at Antwerp in 1594. He first studied with Adam Van Oort, whose daughter he married at an early period of his life; but it was to Rubens he stood indebted for the principal part of his knowledge; though it is dubious whether he ever was admitted into the school of that master. Certain it is, however, that he more forcibly carried into effect his principles than any of his disciples, except Vandyke. It is said by Sandrart, that Rubens was jealous of him, but this assertion is generally thought to be unfounded; yet if so great a man were capable of that mean passion, certainly the talents of Jordaens might well excite it. He painted with almost incredible force and brilliancy. Neither Rubens nor Tintoretto, in that respect, excel him; his compositions are full of bustle, and designed with great truth, even grandeur of form. His defect (and it must be allowed that it is a great one, in an art whose principal end is to adorn, to improve, to please mankind) is grossness of subject and of form; not indecent, but vulgar, low common life. His power to give rotundity and relief to his figures, is amazing; and his execution is of the most masterly kind. The French have possessed themselves of many of his principal works; two are particularly noticeable in the gallery of the Louvre, the Flemish celebration" of Twelfth night, known by the appellation of "Le Roi boit," and Christ driving the money-changers from the temple. He was remarkable for the rapidity of his execution, and appears to have studied his figures and effects by candle-light, or in bright sun-shine. Having obtained great renown and success, he died in 1678.2

1 Biog, Brit.-Johnson and Chalmers's English Poets, for which the above sketch was written.

2 Pilkington.-Argenville, vol. III.-Sir Joshua Reynolds's Works; see Index.-Rees's Cyclopædia.

JORDAN (CHARLES STEPHEN), a person distinguished more by his connections than by his works, was born at Berlin in 1702, and discovered early a taste for letters. He was brought up to the church, but becoming acquainted with Frederic, then prince, and afterwards king of Prussia, a friendship commenced between them of no common sincerity; and when Frederic came to the throne, he prevailed on Jordan to abandon the church and come to court. Here he became the confidential friend of Frederic, and had the courage to give him on all occasions the best advice, and to oppose to his face such measures as he thought hurtful. Notwithstanding this freedom he was advanced to several posts of profit and honour, and became at length vice-president of the academy of sciences at Berlin; where he died in 1745. The king of Prussia erected a mausoleum over him, and also honoured him with the following eloge: "Jordan," says he, "was born with parts, lively, penetrating, yet capable of application; his memory vast and retentive; his judgment sure, his imagination brilliant; always governed by reason, yet without stiffness in his morals; open in conversation, full of politeness and benevolence; cherishing truth, and disguising it; humane, generous, ready to serve; a good citizen; faithful to his friends, his master, and his country." His merits as an author do not give us so high an idea of him as the above eloge, or as the more interesting account given by Thibault. His only writings were, "L'Histoire d'un voyage litéraire," in France, England, and Holland. "Un Recueil de Littérature, de Philosophie, & de Histoire." A Life of M. de la Croze, in French, &c.1

JORDANO LUCA.-See GIORDANO.

JORDEN (EDWARD), an English physician, and considerable writer on chemistry and mineralogy, was born in 1569, at High Halden in Kent, and probably educated at Hart-hall, Oxford. He visited foreign universities, and took his degree of doctor in that of Padua. After his return, he practised in London, where he became a member of the college of physicians, and was in high reputation for learning and abilities. He injured his fortune by engaging in a project to manufacture alum. We are ignorant where his works were situated; but it is certain, he obtained a grant from James I. of the profits of them, which 1 Dict. Hist. Thibault's Anecdotes of Frederic II. king of Prussia, vol. II. P. 427.

was revoked at the importunity of a courtier; and though he made application for redress, he never obtained it, notwithstanding the king appeared particularly sensible of the hardship of his case. He spent the latter part of his life at Bath, and died there, of the gout and stone, in January

1632.1

JORTIN (Dr. JOHN), a learned English divine, was born in the parish of St. Giles's, Middlesex, Oct. 23, 1698. His father, Renatus, was a native of Bretagne in France; came over to England about 1685, when protestantism was no longer tolerated in that country; was made a gentleman of the privy-chamber in 1691; became afterwards secretary to lord Orford, sir George Rooke, and sir Cloudesly Shovel; and was cast away with the last, when his ship struck upon the rocks of Scilly, Oct. 22, 1707. His mother was Martha Rogers, of an ancient and respectable family in Bucks, which had produced some clergymen, distinguished by their abilities and learning. He was educated at the Charter-house, where he made a good. proficiency in Greek and Latin: French he learned at home, and he understood and spoke that language well.

In May 1715, he was admitted of Jesus-college, Cambridge; and, about two years after, recommended by his tutor Dr. Styan Thirlby, who was very fond of him, and always retained a friendship for him, to make extracts from Eustathius, for the use of Pope's "Homer." He was not employed directly by Pope, nor did it ever happen to him to see the face of that poet: for, being of a shy modest nature, he felt no impulse to force his way to him; nor did the other make inquiry about him, though perfectly satisfied with what he had done for him. He took the degree of B. A. in 1718-19, and M. A. in 1722: he had been chosen fellow of his college soon after the taking of his first degree. This year he distinguished himself by the publication of a few Latin poems, entitled, "Lusus Poetici; which were well received, and were twice reprinted, with additions. In Sept. 1723, he entered into deacon's orders, and into priest's the June following. In Jan. 1726-7, he was presented by his college to Swavesey, near Cambridge; but, marrying in 1728, he resigned that living, and soon after settled himself in London, where he was engaged as a reader and preacher at a chapel in Newstreet, near Russell-street, Bloomsbury.

Ath. Ox. vol. I.-Aikin's Biog. Memoirs of Medicine. VOL. XIX.

M