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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. -
BIBLIOGRAPHY Monographs Drama at the Courts Of
BIBLIOGRAPHY Monographs Drama at the Courts of Queen Henrietta Maria (Cambridge: Cambridge University Press, 2006; paperback edition, 2009) [Reviewed in the Times Literary Supplement, Renaissance Quarterly, Journal of British Studies, American Historical Review, Notes & Queries, Cambridge Quarterly, Medieval and Renaissance Drama in England, Theatre Research International, Canadian Journal of History, H-Albion] Textual Editions John Marston’s The Dutch Courtesan (London: Bloomsbury [Arden Early Modern Drama], 2018), xx + 276pp. [Reviewed in the Times Literary Supplement] The Cambridge Edition of the Works of Ben Jonson, 7 volumes (Cambridge: Cambridge University Press, 2012), General Editors: Martin Butler, David Bevington, Ian Donaldson; Associate Editors: Karen Britland, Eugene Giddens [Honourable Mention, 2015 PROSE Award for eProduct, Best in Humanities] CWBJ print edition Editor of Ben Jonson’s Mortimer His Fall (a play fragment) in The Cambridge Edition of the Works of Ben Jonson, 7 volumes (Cambridge: Cambridge University Press, 2012), vol. 7, pp. 403-16 CWBJ electronic edition Editor of the “Dubia” section of the electronic component of The Cambridge Edition of the Works of Ben Jonson (and author of essays on Jonson’s putative involvement in The Widow, The London Prodigal, and The Fair Maid of the Inn) Compiler of Performance Archive (with Eugene Giddens). Responsible for “Amateur and professional productions of Ben Jonson’s plays and masques to 1850: a database” Assistant on the Masque Archive: “An archive of documents relating to Ben Jonson’s masques and entertainments” (compiled by Katharine Craik) Elizabeth Cary’s The Tragedy of Mariam (London: A&C Black [New Mermaids], 2010; repr. 2016; 2018), xxxii + 101pp. Critical Edition Henry V: Continuum Renaissance Drama, ed. -
Drama at the Courts of Queen Henrietta Maria'
H-Albion Campbell on Britland, 'Drama at the Courts of Queen Henrietta Maria' Review published on Saturday, September 1, 2007 Karen Britland. Drama at the Courts of Queen Henrietta Maria. Cambridge: Cambridge University Press, 2006. ix + 292 pp. $85.00 (cloth), ISBN 978-0-521-84797-1. Reviewed by Julie Campbell (Department of English, Eastern Illinois University) Published on H- Albion (September, 2007) Reading Religio-Political Visions in Caroline Court Entertainments Considering the court entertainments associated with Henrietta Maria, queen consort to Charles I, from the wedding ballets performed for the royal couple in 1624 to the entertainments at the French court during her exile, Karen Britland employs carefully researched close readings to counter the long-standing image of Henrietta Maria as vain and frivolous. Britland especially takes issue with Alison Plowden's assertion in Henrietta Maria (2001) that the queen consort "was simply not interested in affairs of state" (quoted, p. 1). In the process, Britland demonstrates, in intriguing detail, how the allegories of the sumptuous Caroline court entertainments illustrate Henrietta Maria's and Charles's religious and political goals. Critical considerations that inform Britland's study are as follows: she strongly asserts that Henrietta Maria had a socio-religious role at the English court mandated by her mother, Marie de Médicis, that she was to protect English Catholics and be merciful to Protestants, so that, by her example, they (including her husband) would wish to convert. In the same vein, Henrietta Maria was to embody the notion of a "peaceweaver," Britland's term for a royal female peacemaker who traveled between courts and whose role it was to use her fertility, her deportment, and her rhetoric to negotiate between national powers. -
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. -
Ben Jonson's Use of English Folk Ritual in the Court Masques
The Woman's College of The University of North Carolina LIBRARY COLLEGE COLLECTION Gift of Virginia Acheson Tucker BEN JONSON'S USE OP ENGLISH POLK RITUAL IN THE COURT MASQUES by Virginia Acheson Tucker A Thesis Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro In Partial Fulfillment of the Requirements for the Degree Master of Arts Cat Greensboro May, 1964 Approved lC\J'^?n^iA^v>A 4c c APPROVAL SHEET This thesis has been approved by the following committee of the Faculty of the Graduate School at The University of North Carolina at Greensboro, Greensboro, North Carolina. Thesis Director ^ry Oral Examination 44* Aah Committee Members Z^ryx^s- &&Z&1 ■ ( AtjyAs-^-L<D^_ -&* 270341 JJ rt/u, rfc*? Date of Examination li TUCKER, VIRGINIA ACHE30N. Ben Jonson's Use of English Polk Ritual in the Court Masques. (1964) Directed by Dr. Joseph A. Bryant, Jr.. pp. 51 A chronological study of the court masques of Ben Jonson reveals that he began composing masques using the purely classical elements which were the accepted devices of the day but that about 1610 he began to import elements which appear to have their basis in English folk ritual such as the mummers' play, the sword dance, and the plough play. Further study suggests that by 1616 Jonson had realized the full possibilities of the use of native ludl and from that time on used English elements with increasing confidence, producing a well-integrated series of masques in which classical and native motifs are happily blended. -
'Youthful Revels, Masks, and Courtly Sights'
‘Youthful Revels, Masks, and Courtly Sights’: an introductory study of the revels within the Stuart masque Anne Daye Invocation designated a social occasion shaped by art. Not only might a Although at heart the masque is an entertainment of dancing, ball, a game or a play be conducted in an orderly fashion, but scholarship in this century has concentrated on the literary a sequence of such events might be linked by a single and design elements. An outstanding body of scholarship has conception or device to make an artistic whole. This kind of illuminated the artistic, intellectual and political importance revel might be enacted for a particular celebration. It required of the Stuart court masques, paying testimony to the complex leisure for the revel to unfold, therefore certain seasons of the cultural achievement of their makers. The dance elements year were more conducive to this activity. The Christmas have been marginalised in the discussion. This is chiefly a season in particular was the opportunity for such activity, as consequence of the much smaller body of evidence left winter enforced idleness, whilst Christ’s birth was a pretext behind, but also because scholarly work on seventeenth for celebration for non-Puritan Christians. A revel provided century dance is a comparatively recent development. How- a release from the cares of the world, when normal duties and ever, fresh historical research, including the reconstruction responsibilities were suspended, and when the imagination of dances, is now leading to a firmer grasp of the nature of could be engaged creatively. The spirit of a winter revel is dancing at the time of the masques. -
So We Are Talking Roughly About Twenty‐Five Years of Theatre. Roughly, Because the Tendencies That Characteriz
So we are talking roughly about twenty‐five years of theatre. Roughly, because the tendencies that characterize Jacobean theatre started before James I came to the throne (1603, died 1625) around the year 1599 – the year when the Lord Chamberlain’s Men relocated their theatre from Shoreditch to Southwark (on the southern bank of the Thames) and called it “The Globe”, the year when the private theatre of Paul’s boys was reopened, and a little later the Lord Chamberlain’s Men got hold of the Blackfriars theatre. These developments brought about an unprecedented avalanche of play‐writing and dramaturgical innovation that made the Jacobean period one of the most dynamic and spectacular periods in theatre history as we know it. The period also established a new generation of playwrights: the most prominent of whom are Ben Jonson, John Marston, George Chapman, Thomas Middleton, John Webster, Francis Beaumont and John Fletcher – who worked alongside, competed with, collaborated and learned from William Shakespeare – the major figure that continued to sway the English stage from the Elizabethan well into the Jacobean period. 1 Of course, at the beginning of the period the most successful playwright in London was Shakespeare. So far, his fame rested mainly on the series of history plays: the two tetralogies (Henry VI, Parts I‐III and Richard III; and Richard II, Henry IV, Parts I‐II and Henry V) and King John; and his witty romantic comedies that Queen Elizabeth reportedly liked so much: e.g. Love’s Labour’s Lost, A Midsummer Night’s Dream, Much Ado About Nothing, As You Like It. -
The Politics of the Stuart Court Masque This Book Takes a New Look at the Courtly Masque in Early Seventeenth-Century England
The Politics of the Stuart Court Masque This book takes a new look at the courtly masque in early seventeenth-century England. For a generation, the masque has been a favourite topic of New Historicism, because it has been seen as part of the process by which artistic works interact with politics, both shaping and reflecting the political life of a nation. These exciting new essays move importantly beyond a monolithic view of culture and power in the production of masques, to one in which rival factions at the courts of James I and of Charles I represent their clash of viewpoints through dancing and spectacle. All aspects of the masque are considered, from written text and political context to music, stage picture and dance. The essays, written by distinguished scholars from around the world, present an interdisciplinary approach, with experts on dance, music, visual spectacle and politics all addressing the masque from the point of view of their speciality. David Bevington is the Phyllis Fay Horton Professor in the Human- ities in the Departments of English and of Comparative Literature at the University of Chicago. His books include From ‘Mankind’ to Marlowe: Growth of Structure in the Popular Drama of Tudor England (), Tudor Drama and Politics () and Action is Eloquence: Shake- speare’s Language of Gesture (). He is editor of both The Bantam Shakespeare () and The Complete Works of Shakespeare (, updated ). Peter Holbrook is a Lecturer in the Department of English, at the University of Queensland, Australia, and is the author of Literature and Degree in Renaissance England: Nashe, Bourgeois Tragedy, Shakespeare (). -
Shakespeare and Religion Chronology 1600-1624 and Post Shakespeare 1625-1799 Including American Contexts Continental Contexts Irish Contexts
1 Shakespeare and Religion Chronology 1600-1624 and Post Shakespeare 1625-1799 Including American Contexts Continental Contexts Irish Contexts Home Page: Shakespeare and Religion Chronology by Dennis Taylor, Boston College Unedited notes, Revised March, 2013 **1600** Essex opens Essex house to discontents, proposes to certain theologians the question whether an ill-advised sovereign could be required to govern according to law, sends professions of attachment to James; the conspirators meet at Drury House, Southampton's residence, to discuss the succession, and promise support to James;Essex assembles his men to proceed to the Queen-- ”buoyed up with the belief in his own popularity, and the knowledge that a few years before the duke of Guise in similar circumstances, had, with the aid of the Parisians, successfully braved the authority of his sovereign” (Lingard); diverted by Sir Edward Coke who arrived and “accused Essex of hypocrisy and irreligion, because, while he pretended to be a Protestant, he had promised toleration to Blount, his father-in-law, a known Catholic; Essex protested his loyal Protestantism, but also “replied ... that he did not consider it an essential part of the reformed worship to put Catholics to death on account of their religion” (Lingard). He is tried and convicted, but left free. Southampton offers to flee with him to foreign exile, but Essex declines. Essex conspirators include Francis Tresham (son of Sir Thomas Tresham), who became part of Gunpowder plot. Essex had tacitly promised religious toleration to gain support of Catholics and other dissidents. Henry Howard, Earl of Northampton, Essex ally, but opposed the rebellion Anne of Denmark, wife of James VI (married him 1589), possibly converts to Catholicism in this year (or 1601-2). -
Situating Ben Jonson: the Cambridge Edition of the Works
Early Theatre 17.1 (2014), 159–178 DOI: http://dx.doi.org/10.12745/et.17.1.8 Review Essay Peter Kirwan Situating Ben Jonson: The Cambridge Edition of the Works In July 2013, Ben Jonson set off on a walk from London to Scotland. Sev- eral media and heritage outlets trailed this journey extensively in advance, including the Twitter account ‘Ben Jonson Walking’ (@BenJonsonsWalk): #BenJonson is on a short break before he sets off on his epic walk next Mon- day, with a last minute dash to the Bodleian for some extra info. (1 July 2013, 5:08am)1 Over the following days, the account and an accompanying blog continued to post excerpts from the recently discovered manuscript written by Jonson’s companion on his walk of 1618.2 Edited to meet Twitter’s 140-character limit, and including links and hashtags for navigation, @BenJonsonsWalk offered a fascinating, bite-size overview of the journey: ‘Three Minstrels thrust themselves on us asking if we would hear a merry song, the life & death of my Lord of Essex’ #Hoddesdon #BenJonson (10 July 2013, 12:02am) ‘This forenoon it thundered & rained which stopped us setting forwards till the evening’ #BenJonson #englishweather http://bit.ly/BJWblog (10 July 2013, 4:03am) Peter Kirwan ([email protected]) lectures in Shakespeare and early modern drama in the school of English at the University of Nottingham. 159 ET_17-1.indd 159 6/11/14 3:51:05 PM 160 Review Essay Occurring in real time, this electronically disseminated report of the walk, belated by 400 years, situated Jonson in a temporal and geographic space that turned an anecdote into a labour-intensive and richly detailed experience. -
Comus a Masque by John Milton
Christ’s College Amateur Dramatic Society presents Comus A masque by John Milton Comus David F. Walton The Lady Mary-Ellen Lynall The attendant Spirit Jenni Mackenzie Elder Brother Ed Rowett Younger Brother Ned Stuart-Smith Sabrina the Nymph Olivia Marshall Dancers Rachel Thomas Charlotte Verrill Maria Pritchard Shu-Pin Oei Emma Rhule Helen Ivory Director Annilese Miskimmon Assistant Director Sarah Blisset Production Designer Lachlan Goudie Producer Natalie Fast Assistant Producer Mary Hughes Musical Director Ned Allen Assistant Musical Director Richard Bates Costume Designer Beth Sims Choreographer Kyra Cornwall Externals Liaison Hannah Crawforth The Marlowe Society presents Comus A reply by John Kinsella Comus David Brown The Lady Amanda Palin The attendant Spirit Helen Duff Elder Brother Sam Pallis Younger Brother Lowri Amies Sabrina the Nymph Alashiya Gordes Entourage Abigail Rokison Iona Blair Arthur Asseraf Director Simon Godwin Assistant Director Oscar Toeman Designer Lucy Minyo Associate Designer Georgia de Grey Composer Simon Gethin Thomas Music Advisor Jeremy Thurlow Choreographer Vikki Le May Lighting Designer Benjamin Sehovic Technical Director Adam Wood Stage Manager Alexandra Hepburn Producer Pascal Porcheron Assistant Producer Eve Rosato Special thanks to: Dr. Richard Axton for overseeing the CADS production. Hannah Crawforth for liaising between and co-ordinating the two productions. Helen Mort and the Christ’s College Alumni Office. Tim Cooper (Wolfson Theatre, Churchill) Tony Weaver, David King, John Linford and Christ’s College Maintenance Department. Programme edited by David Parry. The college had barely started planning celebrations for the 400th anniversary of John Milton’s birth when it got wind of a bold initiative by the Marlowe Society. -
Music in English Renaissance Drama
University of Kentucky UKnowledge Music Arts and Humanities 1968 Music in English Renaissance Drama John H. Long Greensboro College Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Long, John H., "Music in English Renaissance Drama" (1968). Music. 2. https://uknowledge.uky.edu/upk_music/2 MUSIC IN ENGLISH RENAISSANCE DRAMA This page intentionally left blank MUSIC IN ENGLISH RENAISSANCE DRAMA CONTRIBUTORS Nan Cooke Carpenter Ernest Brennecke Ian Spink R. W. Ingram MacDonald Emslie Willa McClung Evans Vincent Duckles EDITED BY John H. Long University of Kentucky Press Lexington 1968 Copyright © 1968 University of Kentucky Press Library of Congress Catalog Card No. 68-12969 INTRODUCTION It is the purpose of this volume to present some significant examples of the use of music in English dramatic and semidramatic works composed and presented between the years 1550 and 1650, a span of a century which for this limited purpose shall serve as a temporal definition of the English Renaissance. The bulk of scholarship devoted to the subject in the past has been limited largely to the works of one playwright, Shakespeare, and to one semidramatic form, the court masque. Monumental as Shakespeare was and is, and magnificent as the court masques were, they did not encompass completely the versatility with which music was employed for dramatic purposes during the period, in the works of lesser play wrights or in the elaborate "entertainments," the interludes, the pageants, the folk-plays, and other more-or-less dramatic productions that, in intent and practice, merged one into another to defy formal categorization.