Ben Jonson : a Short Study
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Ben Jonson and the Mirror: Folly Knows No Gender
Western Michigan University ScholarWorks at WMU Dissertations Graduate College 6-2001 Ben Jonson and The Mirror: Folly Knows No Gender Sherry Broadwell Niewoonder Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the Classical Literature and Philology Commons, English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Niewoonder, Sherry Broadwell, "Ben Jonson and The Mirror: Folly Knows No Gender" (2001). Dissertations. 1382. https://scholarworks.wmich.edu/dissertations/1382 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. BEN JONSON AND THE MIRROR: FOLLY KNOWS NO GENDER by Sherry Broadwell Niewoonder A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of English Western Michigan University Kalamazoo, Michigan June 2001 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. BEN JONSON AND THE M IR R O R : FO LLY KNOWS NO GENDER Sherry Broadwell Niewoonder, Ph.D. Western Michigan University, 2001 Ben Jonson, Renaissance poet and playwright, has been the subject of renewed evaluation in recent scholarship, particularly new historicism and cultural materialism. The consensus among some current scholars is that Jonson overtly practices and advocates misogyny in his dramas. Such theorists suggest that Jonson both embodies and promulgates the anti woman rhetoric of his time, basing their position on contemporary cultural material, religious tracts, and the writings of King James I. -
Contribution of Ben Jonson to Development of the English Renaissance Comedy
УДК: 821.111.09-22 Џонсон Б. ИД: 195292940 Оригинални научни рад ДОЦ. ДР СЛОБОДАН Д. ЈОВАНОВИЋ1 Факултет за правне и пословне студије „др Лазар Вркатић” Катедра за англистику, Нови Сад CONTRIBUTION OF BEN JONSON TO DEVELOPMENT OF THE ENGLISH RENAISSANCE COMEDY Abstract. Ben Jonson’s Works, published in 1616, included all his comedies written that far, and meant an important precedent which helped to establish drama as lit- erary kind comparable to the rest of literature. Before that date, drama was regarded as un- worthy of the name of literature, and Jonson was the first to give it its new dignity. His comedies written after 1616 were usually published immediately after they were acted. Jonson’s theoretical interests were an expression of his intellectual aristocratism and his realistic temperament. He took pride in being able to create comedies according to the best scientific rules, and felt superior to those who made them by sheer talent. Jonson was the only theoretician among the English Renaissance dramatists, but although he was ready to fight for his rules, his application of them was broad and elastic. In his comedies there are many departures from classical models, often modified by his keen observation of every- day English life. The theory he adhered to was an abstract and rigid kind of realism, which in his practice was transformed by his gift of observation and his moral zeal into a truly realistic and satirical comic vision of life. Key words: comedy, drama, theory, classical models, everyday English life, realism, satire. 1 [email protected] 348 Зборник радова Филозофског факултета XLII (1)/2012 EXCEPTIONAL PERSONALITY, OUTSTANDING CONTRIBUTION Benjamin or Ben Jonson (1573?-1637) was the central literary personality of the first two decades of the XVII century. -
Epicoene. for the Moment, I Want to Particularly Consider
DANGEROUS BOYS DANGEROUS BOYS AND CITY PLEASURES: SUBVERSIONS OF GENDER AND DESIRE IN THE BOY ACTOR'S THEATRE By ERIN JULIAN, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Erin Julian, September 2010 MASTER OF ARTS (2010) McMaster University (English and Cultural Studies) Hamilton, Ontario TITLE: Dangerous Boys and City Pleasure: Subversions of Gender and Desire in the Boy Actor's Theatre AUTHOR: Erin Julian, B.A. (Brock University) SUPERVISOR: Dr H.M. Ostovich NUMBER OF PAGES: vi, 143 ii ABSTRACT: This thesis draws on the works of Will Fisher, Lucy Munro, Michael Shapiro, and other critics who have written on the boy actor on the early modem English stage. Focussing on city comedies performed by children's companies, it argues that the boy actor functions as a kind of "third gender" that exceeds gender binaries, and interrogates power hierarchies built on those gender binaries (including marriage). The boy actor is neither man nor woman, and does not have the confining social responsibilities ofeither. This thesis argues that the boy's voice, his behaviours, and his epicene body are signifiers of his joyous and unconfined social position. Reading the boy actor as a metaphor for the city itself, it originally argues that the boy's innocence enables him to participate in the games, merriment, and general celebration of carnival, while his ability to slip fluidly between genders, ages, and other social roles enables him to participate in and embody the productively disruptive carnival, parodic, and "epicene" spaces of the city itself. -
Sidney, Shakespeare, and the Elizabethans in Caroline England
Textual Ghosts: Sidney, Shakespeare, and the Elizabethans in Caroline England Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Rachel Ellen Clark, M.A. English Graduate Program The Ohio State University 2011 Dissertation Committee: Richard Dutton, Advisor Christopher Highley Alan Farmer Copyright by Rachel Ellen Clark 2011 Abstract This dissertation argues that during the reign of Charles I (1625-42), a powerful and long-lasting nationalist discourse emerged that embodied a conflicted nostalgia and located a primary source of English national identity in the Elizabethan era, rooted in the works of William Shakespeare, Sir Philip Sidney, John Lyly, and Ben Jonson. This Elizabethanism attempted to reconcile increasingly hostile conflicts between Catholics and Protestants, court and country, and elite and commoners. Remarkably, as I show by examining several Caroline texts in which Elizabethan ghosts appear, Caroline authors often resurrect long-dead Elizabethan figures to articulate not only Puritan views but also Arminian and Catholic ones. This tendency to complicate associations between the Elizabethan era and militant Protestantism also appears in Caroline plays by Thomas Heywood, Philip Massinger, and William Sampson that figure Queen Elizabeth as both ideally Protestant and dangerously ambiguous. Furthermore, Caroline Elizabethanism included reprintings and adaptations of Elizabethan literature that reshape the ideological significance of the Elizabethan era. The 1630s quarto editions of Shakespeare’s Elizabethan comedies The Merry Wives of Windsor, The Taming of the Shrew, and Love’s Labour’s Lost represent the Elizabethan era as the source of a native English wit that bridges social divides and negotiates the ii roles of powerful women (a renewed concern as Queen Henrietta Maria became more conspicuous at court). -
Shakespeare, Jonson, and the Invention of the Author
11 Donaldson 1573 11/10/07 15:05 Page 319 SHAKESPEARE LECTURE Shakespeare, Jonson, and the Invention of the Author IAN DONALDSON Fellow of the Academy THE LIVES AND CAREERS OF SHAKESPEARE and Ben Jonson, the two supreme writers of early modern England, were intricately and curiously interwoven. Eight years Shakespeare’s junior, Jonson emerged in the late 1590s as a writer of remarkable gifts, and Shakespeare’s greatest theatri- cal rival since the death of Christopher Marlowe. Shakespeare played a leading role in the comedy that first brought Jonson to public promi- nence, Every Man In His Humour, having earlier decisively intervened— so his eighteenth-century editor, Nicholas Rowe, relates—to ensure that the play was performed by the Lord Chamberlain’s Men, who had ini- tially rejected the manuscript.1 Shakespeare’s name appears alongside that of Richard Burbage in the list of ‘principal tragedians’ from the same company who performed in Jonson’s Sejanus in 1603, and it has been con- jectured that he and Jonson may even have written this play together.2 During the years of their maturity, the two men continued to observe Read at the Academy 25 April 2006. 1 The Works of Mr William Shakespeare, ed. Nicholas Rowe, 6 vols. (London, printed for Jacob Tonson, 1709), I, pp. xii–xiii. On the reliability of Rowe’s testimony, see Samuel Schoenbaum, Shakespeare’s Lives (Oxford, 1970), pp. 19–35. 2 The list is appended to the folio text of the play, published in 1616. For the suggestion that Shakespeare worked with Jonson on the composition of Sejanus, see Anne Barton, Ben Jonson: Dramatist (Cambridge, 1984), pp. -
New Light on Jonson and Roman Comedy: Volpone and Eunuchus, Magnetic Lady and Truculentus
RICHARD F. HARDIN New Light on Jonson and Roman Comedy: Volpone and Eunuchus, Magnetic Lady and Truculentus Behind the practice of imitation in Renaissance literature lay the knowledge that the ancients themselves had imitated. Roman followed Greek comedy as Virgil followed Homer. Terence readily countered the charge that he had kidnapped characters from Greek comedy. So do all comic playwrights: indeed, “Nothing in fact is ever said which has not been said before” (Nullumst iam dictum quod non sit dictum prius).1 As it happens, Terence’s remark appears in the preface to a play that shows evidence of Ben Jonson’s imitation in Volpone – The Eunuch. The connection between these plays has apparently not previously been made, despite work on Jonson and ancient comedy over the past century.2 My discussion of Volpone and Eunuchus will lead into observations on the English playwright’s The Magnetic Lady as it echoes the plot of the mysterious pregnancy in Plautus’s Truculentus. Peter Happé writes that The Magnetic Lady shows Jonson, beginning around 1632, inclining toward “the staging practices of Plautus and Terence. The latter in fact are the chief debt, and Jonson both The Ben Jonson Journal 20.2 (2013): 179–200 DOI: 10.3366/bjj.2013.0080 © Edinburgh University Press www.euppublishing.com/bjj 180 BEN JONSON JOURNAL acknowledges their importance to him at this time and makes several minor allusions to them.”3 TheallusionsinbothVolpone and The Magnetic Lady are beyond minor. Volpone and Eunuchus Volpone and Eunuchus both involve a seduction attempt on an innocent woman by a man faking impotence. -
Download This PDF File
SYDNEY STUDIES Yo/pone and the Ends of Comedy IAN DONAIDSON I In Ben Jonson's late comedy The Magnetic Lady (1632) three characters sit on stage talking between the acts about the merits and shortcomings ofthe play they are currently watching. By the end of the fourth act the most censorious of these spectators, Master Damplay, feels that he knows well enough how the comedy is going to finish, and is ready to leave. 'Why, here his Play might have ended, if hee would ha' let it', says Damplay, 'and have spar'd us the vexation ofafift Act yet to come, which everyone here knowes the issue of already, or may in part conjecture.' A boy who has been acting as Jonson's spokesman throughout these discussions suggests to Damplay that he wait awhile. Stay, and see his last Act, his Catastrophe, how hee will perplexe that, or spring some fresh cheat, to entertaine the Spectators, with a convenient delight, till some unexpected, and new encounter breake out to rectifie all, and make good the Conclusion. (Chorus after Act IV, 21-4, 27-31)1 'Perplexe', 'cheat', 'unexpected': the terms aptly indicate Jonson's characteristic fondness for narrative complexity, secrecy, and surprise. The endings ofJonson's plays are seldom predictable, and Master Damplay is soon to discover that his guesses about the resolution of The Magnetic Lady are entirely mistaken. In their final acts, Jonson's plays grow denser, busier, more perplexing, as the action moves through unforeseen complications to a final, exhilarating, and unequally unforeseen conclusion. Jonson attached particular importance to the endings of his comedies, as he did to the endings of his other writings. -
Ben Jonson's Poetaster and the Temporality Of
This is a repository copy of ‘To strike the ear of time’: Ben Jonson’s Poetaster and the temporality of art. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/144676/ Version: Accepted Version Article: Rickard, J (2020) ‘To strike the ear of time’: Ben Jonson’s Poetaster and the temporality of art. Renaissance Drama, 48 (1). pp. 57-81. ISSN 0486-3739 https://doi.org/10.1086/708711 ©2020 by Northwestern University. This is an author produced version of an article published in Renaissance Drama. Uploaded in accordance with the publisher's self- archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 ‘To strike the ear of time’: Ben Jonson’s Poetaster and the temporality of art The first scene of Ben Jonson’s play Poetaster or The Arraignment, first performed in 1601 and published in quarto in 1602, begins with a writer reading aloud to himself the final lines of an elegy he has just finished composing: ‘“Then, when this body falls in funeral fire, / My name shall live, and my best part aspire.” / It shall go so’.1 The writer is the great erotic poet of Augustan Rome, Ovid. -
Ebook Download Epicoene Or the Silent Woman Ebook Free Download
EPICOENE OR THE SILENT WOMAN PDF, EPUB, EBOOK Ben Jonson,Roger Victor Holdsworth | 224 pages | 01 Sep 2007 | Bloomsbury Publishing PLC | 9780713666687 | English | London, United Kingdom Epicoene or the Silent Woman PDF Book You have very much honested my lodging with your presence. The Silver Society Journal 10 : 40— Variant Toponyms Listed by Carlin and Belcher. On his release, in disgrace with Henslowe and his former associates, Jonson offered his services as a playwright to Henslowe's rivals, the Lord Chamberlain's company, in which Shakespeare was a prominent shareholder. Cutbeard, his barber, has found such a one in Epicene. A wiser interpretation finds the "purge" in "Satiromastix," which, though not written by Shakespeare, was staged by his company, and therefore with his approval and under his direction as one of the leaders of that company. On his way thither and back he was hospitably received at the houses of many friends and by those to whom his friends had recommended him. Jonson never again produced so fresh and lovable a feminine personage as Rachel, although in other respects "The Case is Altered" is not a conspicuous play, and, save for the satirising of Antony Munday in the person of Antonio Balladino and Gabriel Harvey as well, is perhaps the least characteristic of the comedies of Jonson. He is never witout a spare banquet or sweetmeats in his chanber, for their women to alight at and come up to, for a bait. Pepys saw the play again in January , with Edward Kynaston in the title role. Obviously Jonson was brave, combative, and not averse to talking of himself and his doings. -
Skewels of Poetry
! A Branded Felon ! Katie Gallamore ! On a cold, rainy day in September of 1598, playwright Ben Jonson was arrested for manslaughter. ! Between his birth in 1573 and his death in 1637, Ben Jonson was at different times a soldier, an actor, a playwright, a poet, an essayist, and a translator. His fortunes and misfortunes were equally varied: from branded felon to poet laureate, from lionized man of letters to impoverished pensioner. Though he was incredibly influential as a mentor to young writers (The “Sons of Ben”) Jonson is remembered primarily as a dramatist, not simply for his dozens of masques and tragedies, but for his renowned comedies. ! As arrogant and brash as he was talented and innovative, Ben Jonson lived a life as rife with drama as any of his many plays. At an early age Jonson joined the army and traveled to Flanders, where he killed a man in single combat. Back in England by 1594, he became an actor and playwright. ! In 1597 a play titled The Isle of Dogs, written by Jonson and Thomas Nashe, was suppressed after greatly offending the royal court. The content of the play remains unknown as every copy was destroyed and none are known to exist. However, it is known that the play was reported to the authorities as “lewd” and full of “slanderous matter”. The play was referenced in The Return from Parnassus (II) which alluded to the satirization of Queen Elizabeth I, herself. Consequently, the Queen issued arrest warrants for Jonson, Nashe and Gabriel Spenser (who we’ll see later), resulting in Jonson’s imprisonment in Marshalsea Prison. -
Ben Jonson's Vocation and the “Epistle to Elizabeth, Countess Of
Ben Jonson’s Vocation and JOHN the “Epistle to Elizabeth, BAXTER Countess of Rutland” Résumé : Cet article explore une série de questions concernant l’engagement de Ben Jonson dans la poésie en tant que profession : cette profession, quand la trouva-t-il ? en quoi consiste-elle ? quel est son prix ? qui en tire le profit ? La conclusion, mettant en valeur les épigrammes adressés à ses libraires, indique quelques conséquences de cette profession ; la partie antérieure maintient que l’« Epistle to Elizabeth, Countess of Rutland » met en lumière d’importants aspects des talents de Jonson comme poète dramatique et de sa « découverte » (d’après son expression plus tardive dans Timber) de ce il devait imiter en lui-même. onson was a professional, both in the sense that he wrote for money and Jin the sense that he had a kind of absolute commitment to his art. In Timber: or Discoveries he permits himself a few rueful comments on the returns to be expected from such a commitment: “Poetry, in this latter age, hath proved but a mean mistress, to such as have wholly addicted themselves to her, or given their names up to her family.” The irony of this lament focuses not simply on the disproportion — the greater the allegiance, the less lucrative the return — but on the puzzling nature of the “family” and of the sort of “names” it signifies. Other “families” seem to have a clearer sense of identity: writers who have “but saluted [poetry] on the by, and now and then tendered their visits, she hath done much for, and advanced in the way of their own professions (both the Law and the Gospel) beyond all they could have hoped, or done for themselves, without her favour.”1 There is, here, a marked envy of the career-seeker (lawyer or priest) who would use poetry as a kind of stepping stone to bigger things. -
Read Book the Court Masque : a Study in the Relationship Between
THE COURT MASQUE : A STUDY IN THE RELATIONSHIP BETWEEN POETRY AND THE REVELS PDF, EPUB, EBOOK Enid Welsford | 474 pages | 12 Mar 2015 | CAMBRIDGE UNIVERSITY PRESS | 9781107492455 | English | Cambridge, United Kingdom The Court Masque : A Study in the Relationship between Poetry and the Revels PDF Book It makes the whole play provisional, an act of imaginative collusion, in which whatever resolutions are achieved will always be understood on one level as effects of art. These choreographed dances ended in the masqued dancers' "taking out" of audience members, making concrete the glorification of the court by meshing the symbolic overtones of the masque's praise with the reality of the attending court's presence. About Enid Welsford. Charles W. During this time, "masque" becomes the common term for the type of entertainment, "disguising" as a name is dropped from use, and the masque continues to incorporate and adapt elements of the other popular court entertainments such as the pageant Chambers The Restoration and eighteenth century are well served by Robert Gale Noyes John Milton's Aristocratic Entertainments. Mitterand, Paris, New York: W. Thierry, Demaubus. This service is more advanced with JavaScript available. Mulryne and Margaret Shrewing, pp. Basingstoke: Macmillan- now Palgrave Macmillan, Keith Hock rated it liked it May 09, Turner, W. Something similar to a masque occurs as early as , at the court of the future Richard II, when the young prince took part in a "mumming" performed at the court. Open Preview See a Problem? In his attempt to satisfy the Queen's request, Jonson inadvertently invented the dramatic form which some critics consider England's sole original contribution to dance and its theatrical conceptions until the twentieth century.