Volpone, the Alchemist, Bartholomew Fair Free

Total Page:16

File Type:pdf, Size:1020Kb

Volpone, the Alchemist, Bartholomew Fair Free FREE VOLPONE AND OTHER PLAYS: VOLPONE, THE ALCHEMIST, BARTHOLOMEW FAIR PDF Ben Jonson,Michael Jamieson | 496 pages | 17 Sep 2010 | Penguin Books Ltd | 9780141441184 | English | London, United Kingdom Aubrey Beardsley: On Volpone, by Ben Jonson This 'excellent comedy of affliction' enjoyed enormous prestige for more than a century after its first performance: for John Dryden it had 'the greatest and most noble construction of any pure unmixed comedy in any language'. Its title signals Jonson's satiric and Volpone and Other Plays: Volpone concern with gender: the play asks not only 'what should a man do? The characters furnish a cross-section of wrong answers, enabling Jonson to create riotous entertainment out of lack, loss and disharmony, to The Alchemist point of denying the straightfowardly festive conclusion which audiences at comedies normally expect. Much of the comic vitality arises from a degeneration of language, which Jonson called 'the instrument of society', into empty chatter or furious abuse, and from a plot which is a series of lies and betrayals the hero lies to everyone and Jonson lies to the audience. The central figure is a man named Morose, who hates noise yet lives in the centre of London, and who, The Alchemist of his decision to marry a woman he supposes to be silent, exposes himself to a fantastic cacophony of voices, male, female and - epicene. This student edition contains a lengthy Introduction with background on the author, date and sources, theme, critical interpretation and stage history. This student edition contains a lengthy Introduction with background on the author, date and sources, critical interpretation and stage history. Robert N. Account Options Sign in. Ben Jonson Ben Jonson was an English playwright, poet, and literary critic of the seventeenth century, whose artistry exerted a lasting impact upon English poetry and stage comedy. He popularised the comedy of humours. Jonson was a classically Bartholomew Fair, well-read, and cultured man of the English Renaissance with an appetite for controversy whose cultural influence was of unparalleled breadth upon the playwrights and the poets of the Jacobean era and of the Caroline era. See more. Volpone and Other Plays. Ben Jonson. The three plays collected in this volume depict the faults, errors and foibles of ordinary people with exuberant humour, savage satire and acute observations. Volpone portrays a rich Venetian who pretends to be dying so that his despised acquaintances will flock to his bedside with extravagant gifts in hope of an inheritance. The Alchemist also deals with greed and gullibility, as a rascally trio of confidence tricksters, claiming to have the legendary Philosopher's Stone, fool a series of victims who are hoping to make Bartholomew Fair easy money. And in a wonderfully energetic portrait of Jacobean life, Bartholomew Fair shows a diverse group of Londoners sampling the delights and temptations of the Fair - and the traders, prostitutes and cutpurses who set out to exploit them. Eastward Ho! This collaborative masterpiece of hilarious city comedy was performed by the Children of the Revels at the Blackfriars playhouse in The story is of an allegorical simplicity that lends itself to satire of civic mores and traditions as well as to parody of the sentimental, idealising London comedy presented at the amphitheatres in the suburbs: Goldsmith Touchstone, an upright London citizen, has one modest and one ambitious daughter, one righteous and one disreputable apprentice; virtue The Alchemist rewarded, ruthlessness comes to grief - and receives a drenching in the muddy Thames. The introduction to this The Alchemist discusses various methods of establishing authorship and highlights the irony of the collaborators' comic vision of contemporary London life. Epicoene or The Silent Woman. Every Man in His Humour. Like all of Jonson's city comedies, this play - here given in the Folio version, in which Jonson Bartholomew Fair and set it in England, not Italy - is a kind of dramatised Do-It-Yourself kit on how to bluff one's way in Elizabethan London. Although Roman New Comedy, in which a crafty slave helps a wild youngster to marry the girl of his choice against his father's wishes, supplies Jonson with his basic plot, the world that he presents here is thoroughly contemporary and mundane. The characters' 'humours' - their driving obsessions - may vary, but all of them strive to represent something greater, nobler, cleverer than their real selves. The joke of the play, this editor suggests, is 'finally on all of us who Volpone and Other Plays: Volpone equate the universe with a story in which we play the hero'. Volphone's reverential prayer to his heaps of gold launches the sharpest, funniest play about money and morals in the 17th century - a play still wickedly relevant on the same topics four centuries later. Ben Jonson's comedy depicts selfishness thinly veiled by sanctimonious speeches, lust and possessiveness poorly disguised as love and marriage, and cynical legalism passing itself off as pure justice, alongside snobbery, class warfare and greed. The wily protagonists Volpone and Other Plays: Volpone a dozen conventional plots spinning in the minds of their dupes, and when their amazing juggling act Bartholomew Fair unravels, there are yet more twists - and an even deeper cynicisim - to the story. The play is partly a beast-fable: the wily fox, Volpone, Bartholomew Fair dead to lure flesh-eating birds that he can then consume. But the beasts are the human race, and polite society the biggest, greediest scam of them all. Ben Jonson: Four Plays. Bringing together four of the most popular and widely studied of Ben Jonson's plays, this anthology focuses on the city comedies for which Jonson is best known today: The Alchemist edited by Elizabeth CookVolpone edited Bartholomew Fair Robert N. WatsonBartholmew Fair edited by G. Today Jonson's works are widely Volpone and Other Plays: Volpone to be amongst the best produced in his period. The new introduction by Robert N. Watson explores the plays in the context of early modern theatre, culture and politics, as well as providing a guide to the language, characters and themes. On-page commentary notes gloss the text in The Alchemist detail, making this the ideal edition for study and classroom use. The Alchemist: A Play. Samuel Taylor Coleridge said of Ben Jonson's The Alchemist that it had one out of the three most perfect plots in literature. This play, with its sharp portrayal of human folly, is considered by many to be Jonson's best comedy. First performedits popularity has endured to this day. Jonson Our Contemporary The three plays collected in this Volpone and Other Plays: Volpone depict the faults, errors and foibles of ordinary people with exuberant humour, savage satire and acute observations. Volpone portrays The Alchemist rich Venetian who pretends to be dying so that his despised acquaintances will flock to his bedside with extravagant gifts in hope of an inheritance. The Alchemist also deals with greed and gullibility, as a rascally trio of confidence tricksters, claiming to have the legendary Philosopher's Stone, fool a series of victims who are hoping to make some easy money. And in a wonderfully energetic portrait of Jacobean life, Bartholomew Fair shows a diverse group of Londoners sampling the delights and temptations of the Fair - and the traders, prostitutes and cutpurses who set out to exploit them. Benjamin Jonson was a Renaissance dramatist, poet, and actor, known best for his satirical plays and lyric poems. Jonson focused on creating works that implemented elements of the realistic as well as the absurd. Jonson's most performed play, and Volpone and Other Plays: Volpone one that sparked a period of great success The Alchemist the playwright, is "Volpone, or The Fox". Volpone, a Venetian con artist, is feigning to be on his death bed, pitting several aspirant heirs against one another. The dark comedy is as much serious as it is amusing, exposing the audience to greedy, corrupt characters that at first seem absurdly fictional, but who ultimately reveal a number of societal flaws. Also included in the is collection are "The Alchemist", a comedy which relates the fraudulent enterprise of a butler when left in charge of his master's house who has fled to the country during an outbreak of the plague; "The Epicoene", which concerns the farcical scheme of Dauphine to get his inheritance from his uncle; and The Alchemist Fair", the comedic tale of a plot to win the widow Dame Purecraft from the hypocritical Puritan The Alchemist Busy. All together this collection presents Jonson's most admired and often performed works. This edition is printed on premium acid-free paper. The author - The play - The play on the stage - The text and its presentation. Volpone: Or, the Fox. The Alchemist. A comprehensive introduction to Ben Jonson's Volpone - introducing its critical history, performance history, current critical landscape and new directions in research on the play. Epicoene, or The silent woman. The alchemist. Ben Jonson was an English Renaissance dramatist, poet and actor. A contemporary of William Shakespeare, he is best known for his satirical plays, particularly 'Volpone', 'The Alchemist', and 'Bartholomew Fair'. This is the first volume of his complete plays. Catiline his conspiracy. Bartholomew Fair. Presents the annotated texts of three plays and three masques by Ben Jonson, and includes a selection of Bartholomew Fair and sources. This Volpone and Other Plays: Volpone brings together Bartholomew Fair four great comedies in one volume. Volpone, which was first The Alchemist indramatizes the corrupting nature of greed in an exuberant satire set in contemporary Venice. The first production of Epicene marked the end of a year long closure of thetheatres because of an epidemic of the plague in ; its comedy affirms the consolatory power of laughter at such a time.
Recommended publications
  • THE ALCHEMIST THROUGH the AGES an Investigation of the Stage
    f [ THE ALCHEMIST THROUGH THE AGES An investigation of the stage history of Ben Jonson's play by JAMES CUNNINGHAM CARTER B.Sc., University of British Columbia, 196 8 A THESIS SUBMITTED IN PARTIAL FULFILMENT. OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1972 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada Date 27 QclAtt ii ABSTRACT THE ALCHEMIST THROUGH THE AGES An Investigation of the Stage History of Ben Jonson's Play This study was made to trace the stage history of The Alchemist and to see what effect theatrical productions can have in developing critical awareness of Jonson's dramatic skill in this popular play. Therefore an attempt has been made to record all performances by major companies between 1610 and 197 0 with cast lists and other pertinent information about scenery/ stage action and properties. The second part of the thesis provides a detailed analysis of four specific productions considered in light of their prompt books, details of acting and production, and overall critical reception.
    [Show full text]
  • Jonson's <I>The Alchemist</I> and the Limits of Satire
    Quidditas Volume 21 Article 5 2000 The Repudiation of the Marvelous: Jonson’s The Alchemist and the Limits of Satire Ian McAdam University of Lethbridge Follow this and additional works at: https://scholarsarchive.byu.edu/rmmra Part of the Comparative Literature Commons, History Commons, Philosophy Commons, and the Renaissance Studies Commons Recommended Citation McAdam, Ian (2000) "The Repudiation of the Marvelous: Jonson’s The Alchemist and the Limits of Satire," Quidditas: Vol. 21 , Article 5. Available at: https://scholarsarchive.byu.edu/rmmra/vol21/iss1/5 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Quidditas by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. The Repudiation of the Marvelous: Jonson’s The Alchemist and the Limits of Satire Ian McAdam University of Lethbridge ur present conception of alchemy is, at best, shadowy and con- fused. As Charles Nicholl states in The Chemical Theatre, “The Omodern image…tends in two directions: one scientific, the other magical. The first defines alchemy simply and chronologically as early chemistry…out of which modern chemistry began to emerge during the seventeenth century.”1 On the other hand, “alchemy is popularly defined as one of the ‘occult arts’.… To us, the alchemist’s avowed quest for miraculous substances—the Philosopher’s Stone which converts all to gold, the Elixir Vitae which confers immortality—belongs to the realm of magic rather than science.”2 Nevertheless, to consider Renaissance atti- tudes towards alchemy, we have to recognize that in certain circles the magical viewpoint, the one we are now so quick to dismiss, was held in veneration, there being yet no clear distinction between magic and sci- ence.
    [Show full text]
  • 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.
    [Show full text]
  • '-L? Ч ¿X^Ic.*Isi Iéí.55.3?£ If:.Y •5:И';:Гй^*'1Г І I ,/R Ί^··^^·;:*^Ϊ··':·'·':>7
    S'-Ё’ psijL áí. pj: SÎÆ, :? i'“: ï ïf* гГтл c'rL '^ · ’’V^ í‘j ’**·* :?S. »>и·. i*». «- * Ь y I m ·^ · ^i:¡y?'íT*ü i^Ä W-Ä .,;í¿· ■» ·,· fiS}*«,' -jii Ц İ>4ÇJ ..j«. "'* ;»!·Γ“ Ц ^ «*»?*;·»/ ц‘•■W st-tïw . f'Tf'Y Λ а d ^ ÎL ^tewolM vs î! S >^*;·IfİflMpriilbt“ 4sj:'· C t : äi« 5 ¿Й ii ' . ¿ İ l ç j Y І^Ш ТУ;гГ .■"■ ! ■ !5 .’! t - =< ■ -t«, ,., ψ : r, ■ Jü'S s; - ÿ : : . іЗ^ CS 'mİ ir¿;ííí é « :і.мгж? ■i::'^r.r‘;íK f. · ’ '?’’.‘f ’V '"'^^'Γ:!·’!·^ ·~ І;4^-й.:ГѵГ:5;с J^1й:5.;*ií·:|'·^* lч d .v W *· , ‘-? ■ ¿X^ic.*iSi iéí.55.3?£ í s í * ’· ·■ ^ ■ ЛМт.^'' é·**»!·4(¡ff· „.--.·;·^« .JJ, g. ψ·’;· ^ if:.Y ■•5:И';:Гй^*‘1г І I W 'ill · äi-3':» і»£'лгіт;ьѵй-г·) ·«»■. ·α..ί í¡ %' Ím^í », i.]«·« îi» ' ,/r ί^··^^·;:*^Ϊ··':·'·':>7;^·»;: : -^l·· H; 'J ^ С '' ' THE CARNIVALESQUE IN BEN JONSON’S THREE CITY COMEDIES VOLPONE, THE ALCHEMIST m iy BARTHOLOMEW FAIR A Thesis Submitted to the Faculty of Humanities and Letters of Bilkent University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in English Language and Literature G-Ûİ Kur+uLt^ by Gül Kurtuluş April, 1997 Ι62ζ •kSf- I certify that I have read this thesis and that in my opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in English Language and Literature. Assoc. Prof Ünal Norman (Committee Member) I certify that I have read this thesis and that in my opinion it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in English Language and Literature.
    [Show full text]
  • Of Mire and Authorship Leah S
    Of Mire and Authorship Leah S. Marcus We know much more about the early performances of Ben Jonson's Bartholomew Fair than we do about the average Jacobean play. It was first acted at the new Hope Theatre, 31 October 1614, then at court before King James I the very next night, on All Saints' Day, 1 November 1614. Despite this auspicious double premiere, however, the play was not included in Jonson's monumental 1616 Works; Bartholomew Fair had to wait until 1640 to be issued as part of his second volume of Works, although it had evidently been printed under the aging Jonson's supervision as early as 1631, the date given on its title page within the 1640 volume. In its 1640 printed form, the play is hedged about with a bristling fence of explanatory materials that link it to the occasion of its first performances. The title page announces that it was 'acted in the year, 1614. By the Lady Elizabeth's Servants. And then dedicated to King James, of most blessed memory; by the author, Benjamin Jonson'. The text itself is prefaced first by a verse 'Prologue to the King's Majesty' that probably introduced the play for the 1614 performance at court, and second by a prose 'Induction on the stage' presumably performed at the Hope Theatre for the full run of the play. It is followed by the verse 'Epilogue' printed at the end of the text, addressed to James I, and presumably performed along with the Prologue at Whitehall. We have no way of knowing, of course, what changes Jonson may have made in any of these texts between the time of composition and their much later publication.
    [Show full text]
  • William Marston, Apprentice; and Eastward Ho!
    Early Theatre 19.2 (2016), 81–100 http://dx.doi.org/10.12745/et.19.2.2678 Charles Cathcart Edward Greene, Goldsmith; William Marston, Apprentice; and Eastward Ho! This essay presents new information about the family of John Marston the dramatist. I review this material in relation to the work of Suzanne Gossett and W. David Kay, the two editors of Eastward Ho! for The Cambridge Edition of the Works of Ben Jonson. My article explores how our knowledge of a writer’s personal relation- ships may affect our understanding of that writer’s contribution to a collaborative enterprise. In the summer of 1605 three members of the Marston family each experienced a significant event. All were in their twenties. Thomas Marston, eldest son and heir of William Marston of Middleton in Shropshire, was admitted to the Middle Temple. His brother William became free of the Goldsmiths Company. And their cousin John ran into serious trouble as a consequence of his involvement in writing Eastward Ho! In this essay I bring forward new information about the family of John Mar- ston the dramatist and connect this evidence with biographical findings that have attracted little attention since the time of R.E. Brettle’s thesis in 1927 or that of the publication of the Middle Temple records some twenty years previ- ously.1 I will seek to relate this material to a significant publishing exercise of much more recent times: the work of the two editors of Eastward Ho! for The Cambridge Edition of the Works of Ben Jonson, Suzanne Gossett and W.
    [Show full text]
  • 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.
    [Show full text]
  • Censorship in Ben Jonson's Bartholomew Fair and a Tale of a Tub
    ABSTRACT “A man may have wit, and yet put off his hat” Censorship in Ben Jonson’s Bartholomew Fair and A Tale of a Tub Joshua J. Crain, M.A. Thesis Chairperson: Maurice A. Hunt, Ph.D. Ben Jonson’s career gives us an interesting window into English Renaissance censorship, since a number of his plays were scrutinized, altered, or suppressed by the authorities. In response to the critical consensus that Jonson’s negative view of censorship was mollified over time, this study looks at two comparatively later plays, Bartholomew Fair and A Tale of a Tub, for evidence of Jonson’s continued and even growing antipathy toward censorship. In particular, this study examines the Jonsonian trope of pretended obsequiousness as a pattern for understanding Jonson’s own behavior toward censorious authority. For instance, given the spirited defense of free speech in Bartholomew Fair, we have reason to doubt the sincerity of the Epilogue’s claim to submit to James’s censorship. Likewise, A Tale of a Tub, in both its composition history and thematic treatment of censorship, illustrates Jonson’s antagonistic attitudes toward court involvement in artistic production. "A man may have wit, and yet put off his hat" Censorship in Ben Jonson's Bartholomew Fair and A Tale of a Tub by Joshua J. Crain, B.A. A Thesis Approved by the Department of English Dianna M. Vitanza, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee Maurice A.
    [Show full text]
  • "Falling to a Devilish Exercise": Magic and Spectacle on the Renaissance Stage Shayne Confer
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Fall 2009 "Falling to a devilish exercise": Magic and Spectacle on the Renaissance Stage Shayne Confer Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Confer, S. (2009). "Falling to a devilish exercise": Magic and Spectacle on the Renaissance Stage (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/428 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. “FALLING TO A DEVILISH EXERCISE”: THE OCCULT AND SPECTACLE ON THE RENAISSANCE STAGE A Dissertation Submitted to the McAnulty College and Graduate School of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Shayne Confer December 2009 Copyright by Shayne Confer 2009 “FALLING TO A DEVILISH EXERCISE”: THE OCCULT AND SPECTACLE ON THE RENAISSANCE STAGE By Shayne Confer Approved November 11, 2009 ________________________________ ________________________________ Bernard Beranek, Ph.D. Stuart Kurland, Ph.D. Associate Professor of English Associate Professor of English (Dissertation Director) (First Reader) ________________________________ ________________________________ Laura Engel, Ph.D. Magali Michael, Ph.D. Assistant Professor of English Chair, English Department (Second Reader) Professor of English ________________________________ Christopher Duncan, Ph.D. Dean, McAnulty College and Graduate School of Liberal Arts iii ABSTRACT “FALLING TO A DEVILISH EXERCISE”: THE OCCULT AND SPECTACLE ON THE RENAISSANCE STAGE By Shayne Confer December 2009 Dissertation supervised by Bernard Beranek, Ph.D.
    [Show full text]
  • 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.
    [Show full text]
  • Compare the Use of the Unities in the Tempest and the Alchemist. What Differences in Function and Effect Are There? Hayley Powell
    Volume 3: 2010-2011 ISSN: 2041-6776 School of English Studies Compare the use of the unities in The Tempest and The Alchemist. What differences in function and effect are there? Hayley Powell McDonald has critiqued literary criticism of Shakespeare and Jonson as drawing too heavily on their dissimilar plays: in doing so it ‘establishes a simplified construction of each dramatic style in relation to its antithesis.’1 Both The Tempest and The Alchemist adhere to the three unities of time, place and action, as prescribed in Sidney’s Apologie for Poesie.2 An adherence to the unities is usually viewed from a dramaturgical perspective as either promoting or limiting verisimilitude. As these two plays share a fundamental similarity in their adherence to the neoclassical unities, this essay aims to explore more than just stating them as the ‘opposite poles’ of Renaissance comedy.3 By comparing two plays which share this aspect of dramatic style, in examining the differences in function and in effect in their deployment of this adherence to the unities, it might be possible to reveal deeper thematic differences in The Tempest and The Alchemist. The unity of action is adhered to by Shakespeare and Jonson in distinctly different ways. Jonson’s The Alchemist follows the rise and fall of the plot to make Subtle, Face and Doll rich. While The Alchemist has been famously praised for having one of ‘the most perfect plots in English Literature’4 throughout the play itself there is an overriding sense of improvisation which contributes greatly to comedic effect: when Face and Subtle bounce off each other to unexpected events with quick-wittedness in exchanges such as this: Face: God’s lid, we never thought of him, until now.
    [Show full text]
  • Closure and the Antimasque of the Tempest Geraldo U. De Sousa*
    Fall 1987 41 Closure and the Antimasque of The Tempest Geraldo U. de Sousa* Howard Felperin writes that a Shakespeare play invites two con­ tradictory responses: on the one hand, it "demands a conservative or archeological response in so far as it carries within itself an archaic or received sign-system"; on the other, "it insists on its own differ­ ence from that older sign-system, its departure from prior art in the direction of present life" (Shakespearean Representation 8). He adds that "literature seems to carry its own history encoded or inscribed within it" (27).1 The Tempest has remained one of the most closed plays in the entire canon; it seems the very emblem of closure. Yet many think that it contains Shakespeare's veiled farewell to the the­ ater or that it reflects topical concerns of court aesthetics and the royal family of James I.2 I would like to examine the question of boundary and closure in The Tempest, especially in relation to the wedding masque in Act IV, scene i. Although self-contained and in­ dependent, the masque seems incomplete, not only because Prospero breaks it off but also because it raises questions about a possible antimasque embedded in it. My main contention here is that the boundaries of the masque collapse to reveal an antimasque-like real­ ity.3 From this examination, one can perhaps make generalizations about the play's generic encoding and embedded literary history. One can hardly disagree with Geoffrey Bullough's statement that "although the Masque of Ceres and Juno affects the plot little, it fits admirably into the ethical pattern of the play" (237).
    [Show full text]