Ben Jonson
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Poems
An Epitaph On A Child Of Queen Elizabeth's Chapel
The first poems in full
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To Heaven
Good and great God, can I not think of thee But it must straight my melancholy be? Is it interpreted in me disease That, laden with my sins, I seek for ease? Oh be thou witness, that the reins dost know And hearts of all, if I be sad for show, And judge me after; if I dare pretend To ought but grace or aim at other end. As thou art all, so be thou all to me, First, midst, and last, converted one, and three; My faith, my hope, my love; and in this state My judge, my witness, and my advocate. Where have I been this while exil'd from thee? And whither rap'd, now thou but stoop'st to me? Dwell, dwell here still. O, being everywhere, How can I doubt to find thee ever here? I know my state, both full of shame and scorn, Conceiv'd in sin, and unto labour borne, Standing with fear, and must with horror fall, And destin'd unto judgment, after all. I feel my griefs too, and there scarce is ground Upon my flesh t' inflict another wound. Yet dare I not complain, or wish for death With holy Paul, lest it be thought the breath Of discontent; or that these prayers be For weariness of life, not love of thee.
That Women Are But Men's Shadows
Follow a shadow, it still flies you; Seem to fly it, it will pursue: So court a mistress, she denies you; Let her alone, she will court you. Say, are not women truly then Styled but the shadows of us men?
At morn and even shades are longest, At noon they are or short or none; So men at weakest, they are strongest, But grant us perfect, they're not known. Say, are not women truly then Styled but the shadows of us men?
It Is Not Growing Like A Tree
It is not growing like a tree In bulk doth make Man better be; Or standing long an oak, three hundred year, To fall a log at last, dry, bald, and sere: A lily of a day Is fairer far in May, Although it fall and die that night— It was the plant and flower of light. In small proportions we just beauties see; And in short measures life may perfect be.
Song To Celia - II
Drink to me only with thine eyes, And I will pledge with mine; Or leave a kiss but in the cup, And I'll not look for wine. The thirst that from the soul doth rise Doth ask a drink divine; But might I of Jove's nectar sup, I would not change for thine.
I sent thee late a rosy wreath, Not so much honouring thee As giving it a hope, that there It could not withered be. But thou thereon didst only breathe, And sent'st it back to me; Since when it grows, and smells, I swear, Not of itself, but thee.
Song from The Silent Woman
Still to be neat, still to be dressed, As you were going to a feast; Still to be powdered, still perfumed: Lady, it is to be presumed, Though art's hid causes are not found, All is not sweet, all is not sound.
Give me a look, give me a face, That makes simplicity a grace; Robes loosely flowing, hair as free; Such sweet neglect more taketh me Than all th' adulteries of art: They strike mine eyes, but not my heart.
A Hymn to God the Father
Hear me, O God! A broken heart Is my best part. Use still thy rod, That I may prove Therein thy Love.
If thou hadst not Been stern to me, But left me free, I had forgot Myself and thee.
For sin's so sweet, As minds ill-bent Rarely repent, Until they meet Their punishment.
Who more can crave Than thou hast done? That gav'st a Son, To free a slave, First made of nought; With all since bought.
Sin, Death, and Hell His glorious name Quite overcame, Yet I rebel And slight the same.
But I'll come in Before my loss Me farther toss, As sure to win Under His cross.
A Farewell to the World
FALSE world, good night! since thou hast brought That hour upon my morn of age; Henceforth I quit thee from my thought, My part is ended on thy stage.
Yes, threaten, do. Alas! I fear As little as I hope from thee: I know thou canst not show nor bear More hatred than thou hast to me.
My tender, first, and simple years Thou didst abuse and then betray; Since stir'd'st up jealousies and fears, When all the causes were away.
Then in a soil hast planted me Where breathe the basest of thy fools; Where envious arts professed be, And pride and ignorance the schools;
Where nothing is examined, weigh'd, But as 'tis rumour'd, so believed; Where every freedom is betray'd, And every goodness tax'd or grieved.
But what we're born for, we must bear: Our frail condition it is such That what to all may happen here, If 't chance to me, I must not grutch.
Else I my state should much mistake To harbour a divided thought From all my kind--that, for my sake, There should a miracle be wrought.
No, I do know that I was born To age, misfortune, sickness, grief: But I will bear these with that scorn As shall not need thy false relief.
Nor for my peace will I go far, As wanderers do, that still do roam; But make my strengths, such as they are, Here in my bosom, and at home.
Song To Diana
Queen and huntress, chaste and fair, Now the sun is laid to sleep, Seated in thy silver chair State in wonted manner keep: Hesperus entreats thy light, Goddess excellently bright.
Earth, let not thy envious shade Dare itself to interpose; Cynthia's shining orb was made Heaven to clear when day did close: Bless us then with wished sight, Goddess excellently bright.
Lay thy bow of pearl apart, And thy crystal-shining quiver; Give unto the flying hart Space to breathe, how short soever: Thou that mak'st a day of night, Goddess excellently bright.
Biography
He was born in 1572 and became one of the most influential literary figures of early 17th-century England. His poetry often explores themes of friendship, mortality, virtue, and the good life, blending Horatian ideals with personal reflection. Stylistically, Jonson championed a plain style that valued precision, balance, and control over ornate decoration, a hallmark of his classical learning. His lyric poems, including epigrams, odes, and the country-house poem "To Penshurst," are noted for their structural elegance and moral seriousness. As a playwright, he perfected the comedy of humours with satirical works such as "Volpone" and "The Alchemist." Jonson's self-conscious artistry and critical authority helped shape the neoclassical tradition in English poetry. He also received a royal pension from James I, serving as the de facto poet laureate. His influence persisted through the Cavalier poets who emulated his ideals of craftsmanship and decorum.
