The immediate appeal of Jonson is to the mind; his emotional tone is not in the single verse, but in the design of the whole. But not many people are capable of discovering for themselves the beauty which is only found after labour; and Jonson's industrious readers have been those whose interest was historical and curious, and those who have thought that in discovering the historical and curious interest they had discovered the artistic value as well. When we say that Jonson requires study, we do not mean study of his classical scholarship or of seventeenth-century manners. We mean intelligent saturation in his work as a whole; we mean that, in order to enjoy him at all, we must get to the centre of his work and his temperament, and that we must see him unbiased by time, as a contemporary. And to see him as a contemporary does not so much require the power of putting ourselves into seventeenth-century London as it requires the power of setting Jonson in our London.
[From Ben Jonson. 1919.]