DOCSLIB.ORG

Ben Jonson and the Mirror: Folly Knows No Gender

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. However, the external evidence cited by late twentieth-century writers as to the nature of women's position in seventeenth-century England is contradictory and speculative. A more productive method of determining misogyny in Jonson's dramaturgy is to look into the plays themselves. The approach taken in this dissertation is to focus on the question of misogyny, not from a position outside the text, but from a standpoint within the various dramatic worlds of Jonson's plays through three periods of his writing. Every Man in his Humour (1598), Volpone (1609), Epicoene (1609), and The Alchemist (1610) represent the early period. Bartholomew Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Fair (1614) and The Devil is an Ass (1616) reflect the middle period, and The Staple of News (1625) , The New Inn (1629) , and The Magnetic Lady (1632) represent the final period of Jonson's dramtic works. More specifically, the strategy is to focus on Jonson's satiric comedies through three periods of his writing in order to evaluate his attitude toward women, thereby to develop a hierarchy of wit among his female characters. Jonson, I find rejects the romance genre so capably practiced by his contemporary Shakespeare, preferring that drama reflect real life. In satire, Jonson discovers the perfect vehicle to practice Horace's dictum that poetry should instruct and delight; for, by definition, satire ridicules human folly for the purpose of correction. Since folly is the characteristic Jonson censures, then wit, in contrast, becomes the admired trait. "Wit," in the context of this discussion, is defined as an innate astuteness or ability to think on one's feet. The conclusions reached include (1) that Jonson creates proactive female characters in every phase of his dramatic work and (2) that women, at every level of astuteness, serve to highlight a male who is even more foolish. Jonson's net catches ineptitude in males and females alike. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3017314 Copyright 2001 by Niewoonder, Sherry Broadwell All rights reserved. UMI__ ® UMI Microform 3017314 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Copyright by Sherry Broadwell Niewoonder 2001 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS I am pleased to acknowledge several people who have help to make this work a reality. First, and foremost, Dr. C. J. Gianakaris, an unflagging supporter, who has read every draft with a critical eye and has offered practical suggestions. Dr. Gianakaris believed in the validity of this work even when I experienced doubts. Next, I would like to acknowledge the work of Joseph C. Tardiff—my son—as technical editor. It is his perfectionist's eye that created order out of chaos in the electronic manuscript. Finally, I would to thank Dr. D. Terry Williams and Dr. Stephanie Gauper who responded with both encouragement and suggestions for improvement. In particular, Dr. Gauper's enthusiastic response provided the stimulus to bring the project to a successful conclusion. Sherry Broadwell Niewoonder ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ACKNOWLEDGMENTS ............................................... ii CHAPTER I. THE PAST IS PROLOGUE .................................. 1 Introducing Ben Jonson ............................. 1 Notes to The Past Is Prologue...................... 6 II. RECONSIDERING JONSON'S POSITION ON WOMEN ............ 8 Conditions that Formed Jonson's Character ........ 8 Re-evaluating Jonson's Work ........................ 19 Jonson's Relationships with Women ................. 39 Notes to Reconsidering Jonson's Position on W o m e n ................................................. 42 III. WOMEN AND WIT .......................................... 51 Jonson's Hierarchy of Female Wit .................. 51 Proactive Representatives: Dol, Ursula, and P o l i s h ................................................ 56 Jonson's Active Representations: Bridget and Grace ............................................ 79 Reactive Representatives: Dame Pliant and Lady Lodes to n e ............................................ 99 Notes to Women and W i t ............................. 109 IV. UNIQUE RE PRESENTATIONS OF WOMEN AND W I T ............. 112 Epicoene: Male Construct of the Female Gender .... 112 Pru: Nobody's Long Lost Daughter.................. 124 Notes to Unique Representations of Women and W i t ................................................... 138 iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Table of Contents—continued V. CELIA, HELPLESS OR INSIPID?: EVEN SHARPBEK HAD A CHOICE ................................................... 143 Celia's Hermetically Sealed World ................. 143 Notes to Celia, Helpless or Insipid? Even Sharpbek Had a Choice .............................. 160 VI. FRANCES FITZDOTTREL: THE ULTIMATE HEROINE ........... 163 Frances Overcomes the Circumstances of a Patriarchal System .................................. 163 Notes to Frances Fitzdottrel: The Ultimate Heroine.............................................. 184 VII. BEN JONSON IN THE TWENTY-FIRST CENTURY ............. 186 Jonson's Legacy ..................................... 18 6 Notes to Ben Jonson in the Twenty-First Century . 196 APPENDICES A. Ben Jonson: His Life, Plays, and Masques ............ 197 B. Correlation of Women and Wit in Jonson's Three Dramatic Periods ....................................... 200 BIBLIOGRAPHY.................................................
Load more

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]
  • Search Illinois Counseling Association
    The President’s Message Conscious Compassion & Advocacy During a Time of Violence “If we have no peace, it is because we have forgotten that we belong to each other.” ~Mother Teresa “Why are you interested in Multicultural healthy self-esteem, positive identity and Counseling? You are white,” said the head empowerment. We also have the profes- of the Department of Cross-Cultural sional commitment to serve our commu- Psychology at the Ohio State University nities, to facilitate effective communica- Joyce Marter, LCPC in 1993. tion, collaboration, connection, growth and evolution as a society. Joyce Marter, LCPC is founder and CEO “Isn’t that kind of the point - to increase of Urban Balance, a counseling practice awareness and acceptance of all human During a time of horrific violence, this with seven locations and nearly 80 thera- beings?” replied my 21 year-old self. mission becomes all the more urgent. In pists on staff. Prior to becoming President response, ICA has created two new task of ICA, she was President of IMHCA My request to conduct a senior honors forces. The Anti-Violence Task Force from 2013 to 2015. thesis was subsequently accepted. The is chaired by Chuck Hughes, LCPC study examined the relationships between ([email protected]) racial identity attitudes and preference for and will focus on counselors supporting a counselor’s race. I learned a tremendous one another, our clients, and our com- amount about racial identity development, munities in responding to violence and a process of that moves through the biases facilitating peace. that we all have as part of the human condition and hopefully reaches a point of The Diversity in Leadership Task force is awareness of differences, deep acceptance, chaired by Dr.
    [Show full text]
  • Reading Jonson Historically
    CORE Metadata, citation and similar papers at core.ac.uk Provided by The University of Sydney: Sydney eScholarship Journals online SYDNEY STUDIES Invading Interpreters and Politic Picklocks: Reading Jonson Historically IAN DONAIDSON A central problem in the methodology ofboth the new and 'old' historicism turns on the nature ofthe link that is assumed to exist between historical description and literary interpretation. The monolithic accounts ofElizabethan systems ofbelief assembled by so-called old historicists such as E.M.W. Tillyard (it is common these days to complain) seem often quite at variance with the diverse and at times rebellious energies ofthe literary texts which they are apparently devised to illuminate. Even inthe work of a more sophisticated old historicist such as L.C. Knights the supposedly related activities ofhistorical and literary investigation seem often to tug in contrary directions. The divergence is apparent, for example, in the very structure of Knights's influential study of Drama and Society in the Age of Jonson, the first half of which offers a stolid, Tawney-derived historical account ofeconomic conditions inEngland during the late Elizabethan, early Jacobean period (entitled 'The Background'), while the second half ('The Dramatists') advances livelier readings ofthe work ofindividual authors. The connections here between foreground and 'background', text and context, 'drama' and 'society', literature and history are quite loosely articulated and theoretically undeveloped.l A similar disjunction is often evident in the work of a new historicist such as Stephen Greenblatt, as he turns from a closely-worked meditation upon a particular and highly intriguing historical incident - often quirky in nature, but assumed also to be in some way exemplary - to ponder the particularities of a literary text.
    [Show full text]
  • 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.
    [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]
  • Mastering Masques of Blackness, Andrea Stevens
    andrea stevens Mastering Masques of Blackness: Jonson’s Masque of Blackness, The Windsor text of The Gypsies Metamorphosed, and Brome’s The English Moor Black all over my body, Max Factor 2880, then a lighter brown, then Negro No. 2, a stronger brown. Brown on black to give a rich mahogany. Then the great trick: that glorious half-yard of chiffon with which I polished myself all over until I shone . The lips blueberry, the tight curled wig, the white of the eyes, whiter than ever, and the black, black sheen that covered my flesh and bones, glistening in the dressing-room lights.enlr_1052 396..426 Iam...IamI...IamOthello...butOlivier is in charge.1 —Laurence Olivier, On Acting (1986) Ben Jonson’s “Masque of Blackness” was composed, as the author himself declares, at the express commandment of the Queen (Anne of Denmark), who had a desire to appear along with the fairest ladies of her court, as a negress. I doubt whether the most enthusiastic amies des noirs among our modern beauties, would willingly undergo such a transfor- mation.What would the Age say, if our gracious Queen should play such a frolic?...Itmustnotbe supposed that these high-born masquers sooted their delicate complexions like the Wowskies of our barefaced stages. The masque of black velvet was as common as the black patches in the time of the Spectator.2 —Hartley Coleridge, The Dramatic Works of Massinger and Ford (1859) I am grateful to Bruce Holsinger, Robert Markley, and especially Paul Menzer for their detailed critiques of drafts of this paper.Thanks are due also to the essay’s earliest readers: Christine Luckyj, Katharine Maus, Elizabeth Fowler, Sarah Hagelin, Ellen Malenas Ledoux, and Samara Landers.
    [Show full text]
  • Takoma Park Church Teaches Truth to Oromo People
    Contents ON THE WEB FASTING + PRAYERS What happens when yoU add fasting to yoUr prayers? Does it make yoU eligible for bonUs blessings? Watch a special Visitor video report at colUmbiaUnionvisitor.com/fastingvideo to hear from chUrch members who share what they experienced when they tried this ancient discipline. 40-DAY FASTING GUIDE Pastor David Franklin and his leadership team at Allegheny East Conference’s Miracle Temple in Baltimore recently pUblished 40 Days in the Gospels , a devotional “designed to help sUbmerge the reader into the life and teachings of JesUs.” Read oUr interview with Franklin at colUmbiaUnionvisitor.com/fastinggUide. OLD FASHIONED BREAKS THRU SHADES OF GREY Old Fashioned , a movie aboUt God-honoring love, written, prodUced and directed by Washington Adventist University alUmna Rik Swartzwelder, is bringing back the lost art of chivalry. To find oUt more Newsline aboUt the movie, 4 | visit colUmbiaUnion - visitor.com/oldfashioned. 6 | Noticias CATASTASIS COMING March 7, Anthony Hackett, who attends Chesapeake Conference’s New Hope 8 | Underscore chUrch in FUlton, Md., will premiere 10 | Feature his first featUre film, Catastasis , at Spencerville The Educational Shift Adventist Alita Byrd Academy in Spencerville, As the Seventh-day Adventist edUcational system faces Md. This self-rated challenges, leaders look to the past to determine a best film will keep path forward. adUlt aUdiences on the edge of their seats. Visit colUmbiaUnionvisitor.com/ catastasis to watch the trailer and read how Hackett plans to witness throUgh 15 | Newsletters the project. GET IN-BETWEEN NEWS 44 | Bulletin Board Get breaking news and stories from the ColUmbia Union and aroUnd the Adventist world straight to yoUr email inbox each week.
    [Show full text]
  • 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.
    [Show full text]
  • Roman Life in Cyrenaica in the Fourth Century As Shown in the Letters of Synesius, Bishop of Ptolemais
    920 T3ee H. C. Thory Roman Life in Cyrenaica in the Fourth Century as Shown in the Letters of 5y nesius, , Si shop of Ptolernais ROMAN LIFE IN CYRENAICA IN THE FOURTH CENTURY AS SHOWN IN THE LETTERS OF SYNESIUS, BISHOP OF PTOLEMAIS BY t HANS CHRISTIAN THORY THESIS FOR THE DEGREE OF BACHELOR OF ARTS WITH HONORS IN CLASSICS COLLEGE OF LIBERAL ARTS AND SCIENCES UNIVERSITY OF ILLINOIS 1920 UNIVERSITY OF ILLINOIS June 7 20 , 19* THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY Chrifti^„.T^ i2[ H^.s.v t : , , ROMAN LIFE IN CYRENAICA IN THE FOURTH CENTURY ENE Af*111rvi'T TLEDT?rt A? SHOWN IN THE LETTERS OF SYNESIUS, BISHOP OF PTQLEMAIS IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF ^3 Instructor in Charge Approved HEAD OF DEPARTMENT OF ,£M?STCS. CONTENTS Page I. Cyrenaica: the Country and its Hiatory 1 II. The Barbarian Invasions.. 5 III. Government: Military and Civil 8 IV. The Church 35 V. Organization of Society 34 VI. Agriculture Country Life 37 vii, Glimpses of City Life the Cities 46 VIII. Commerce Travel — Communication 48 IX. Language — • Education Literature Philosophy Science Art 57 X. Position of Women Types of Men 68 Bibliography 71 ********** 1 ROMAN LIFE IN CYRENAICA IN THE FOURTH CENTURY AS SHOWN IN THE LETTERS OF SYNESIUS, BISHOP OF PT0LEMAI8 I CYRENAICA: THE COUNTRY AND ITS HISTORY The Roman province of Cyrenaioa occupied the region now called Barca, in the northeastern part of Tripoli, extending eaet from the Greater Syrtis a distance of about 20C miles, and south from the Mediterranean Sea a distance of 70 to 80 miles.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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).
    [Show full text]