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By Jay Parini

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One of the closest parallels is between Malvolio's misreading of the letter he finds and Bernard Nightingale's misreading of the texts within The Couch of Eros. Malvolio convinces himself that the letter he finds is from Olivia, because he wishes it to be, and that if he follows through the instructions it contains he will have greatness thrust upon him (Twelfth Night, act 2, scene 5). Nightingale convinces himself that the challenge is to Byron because he wishes it to be. It will give the world an explanation of why Byron left England in 1809, it will establish two reviews of Chater's poems in the Piccadilly Review as being by Byron, and above all it will bring Bernard fame.

They have has been tricked into buying something of little or no value to them. Printers'—and authors'—are written in words, which have been shown to have no fixed value. They therefore supply another meaning for alchemical gold. Indeed, books prompt the first use of the play's prevailing image: intact, the plot coherently worked out, and justice and order restored so that the play has not "run away from Nature" like so many of the plays of Jonson's rivals. Jonson has met the first two of his requirements by the end of act 5.

Loxley, James. The Complete Critical Guide to Benjonson. London and New York: Routledge, 2002. Miller, S. " Modern Language Studies 26 (1996), 73-97. Partridge, E. B. The Broken Compass: A Study of the Major Comedies of Ben Jonson. London: Chatto and Windus, 1958. Riggs, David. Ben Jonson: A Life. Cambridge, MA: Harvard University Press, 1989. Stallybrass, P. and A. White. The Politics and Poetics of Transgression. London: Menthuen, 1986. Summers, J. and T. Pebworth, eds. Classic and Cavalier: Essays on Jonson and the Sons of Ben.

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