Volpone Tries to Rape Celia
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Simon Russell Beale Photo: Charlie Carter
Paddock Suite, The Courtyard, 55 Charterhouse Street, London, EC1M 6HA p: + 44 (0) 20 73360351 e: [email protected] Simon Russell Beale Photo: Charlie Carter Location: London Other: Equity Height: 5'7" (170cm) Eye Colour: Grey Playing Age: 51 - 55 years Hair Colour: Greying Appearance: White Hair Length: Short Stage 2018, Stage, The Lehman Trilogy, The National Theatre, Sam Mendes 2016, Stage, Prospero, The Tempest, Royal Shakespeare Company, Gregory Doran 2015, Stage, Mr Foote, Mr Foote's Other Leg, Hampstead Theatre/Haymarket (transfer), Richard Eyre 2015, Stage, The Dean, Temple, Donmar Warehouse, Howard Davies 2014, Stage, King Lear, King Lear, National Theatre, Sam Mendes 2013, Stage, Acting Captain Terri Dennis, Privates on Parade, Noel Coward Theatre, Michael Grandage 2013, Stage, Roote, The Hothouse, Trafalgar Studios, Jamie Lloyd 2012, Stage, Timon of Athens (Critics' Circle Award 2013), Timon of Athens, National Theatre, Nicholas Hytner 2011, Stage, Jimmy, Bluebird, Atlantic Theatre Company, New York, Gaye Taylor Upchurch 2011, Stage, Stalin, Collaborators, National Theatre, Nicholas Hytner 2010, Stage, Sydney, Deathtrap, Noel Coward Theatre, Matthew Warchus 2010, Stage, Sir Harcourt Courtly, London Assurance, National Theatre, Nicholas Hytner 2009, Stage, Lopahkin, The Cherry Orchard, Brooklyn Academy/World Tour/Old Vic, Sam Mendes 2009, Stage, Leontes, The Winter's Tale, Brooklyn Academy/World Tour/Old Vic, Sam Mendes 2008, Stage, Edward, A Slight Ache, National Theatre, Iqbal Khan 2008, Stage, Landscape, National Theatre, -
Jonson's Use of the Morality of Vice in Volpone and the Alchemist
JONSON'S USE OF THE MORTALITY VICE IN VOLPONE AND THE ALCHEMIST JONSON'S USE OF THE MORALITY VICE IN VOLPONE AND THE ALCHEMIST By JANE CHRISTINE GARRETT 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 Jane Christine Garrett, September, 1990 MASTER OF ARTS (1990) McMaster University (English) Hamilton, Ontario TITLE: Jonson's Use of the Morality of Vice in Volpone and The Alchemist AUTHOR: Jane Christine Garrett, Hons. B.A. (McMaster University) SUPERVISOR: Dr. Anthony Brennan NUMBER OF PAGES: vi, 98 11 ABSTRACT This thesis is an attempt to demonstrate the ways in which Ben Jonson incorporates some of the qualities of the Morality Vice into the lead characters of Volpone and The Alchemist. While critics have often ignored Jonson's Morality heritage, the similarity between his lead cozeners and the Vice is often striking. Face and Mosca's overwhelming love of the theatre manifests itself in their superior ability to create a drama in which their scheming partners and ambitious clients expose the faults to which all humanity is prone. Certainly, as it strives to rule the dramatic world, the Vice forms a precarious bond with the audience. Its Morality traits underscore its evil nature and therefore alienate us from the Vice to some degree. However, this figure could imitate humanity and thus invites the audience into an uncomfortable camaraderie which exposes the spectators' own attraction to greed. The first chapter of my thesis examines many of the Vice's central characteristics, such as his love of masks and his ability to create and sustain anarchy. -
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. -
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ACKNOWLEDGEMENT Part of the materials used in this block is drawn from self-learning materials developed by IGNOU, New Delhi and few other Open Education Resources duly acknowledge in the reference section at the end of the unit. BACHELOR OF ARTS (HONOURS) IN ENGLISH (BAEG) BEG-2 British Poetry and Drama: 17th And 18th Centuries BLOCK-3 17TH AND 18TH CENTURIES DRAMAS UNIT 1 BEN JONSON: VOLPONE (PART I) UNIT 2 BEN JONSON: VOLPONE (PART II) UNIT 3 JOHN DRYDEN: ALL FOR LOVE (PART I) UNIT 4 JOHN DRYDEN: ALL FOR LOVE (PART II) UNIT 1 BEN JONSON: VOLPONE (PART I) STRUCTURE 1.1 Learning Objectives 1.2 Introduction 1.3 Ben Jonson: The Playwright 1.3.1 His Life 1.3.2 His Dramatic Career 1.3.3 Few Famous works Of Ben Jonson 1.4.4 Few Quotes on Jonson 1.4 Jonsonian Comedy 1.5 Critical Reception of Jonson 1.6 Let us Sum up 1.7 Answers to Check Your Progress (Hints Only) 1.8 Possible Questions 1.1 LEARNING OBJECTIVES After going through this unit, you will be able to discuss Ben Jonson as an important English playwright of the 16th century make an assessment of Jonson and his works explain the nature of Jonsonian type of comedy provide a critical reception of Jonson 1.2 INTRODUCTION Volpone is Ben Jonson's most famous comedy . Written in 1606 and represented in March of the same year at the Globe Theatre in London by the King's Men , it was published for the first time in 1616 . -
Ben Jonson, Volpone and the Gunpowder Plot Richard Dutton Frontmatter More Information
Cambridge University Press 978-0-521-87954-5 — Ben Jonson, Volpone and the Gunpowder Plot Richard Dutton Frontmatter More Information BEN JONSON, VOLPONE AND THE GUNPOWDER PLOT Ben Jonson’s Volpone is the most widely taught and commonly performed English Renaissance play apart from Shakespeare. However, the dramatic circumstances of its writing are little known. Jonson wrote the play very shortly after the Gunpowder Plot in 1605,an event in which he was personally involved. This book argues that the play alludes to the Plot as openly as censorship will allow, using the traditional form of the beast fable. As a Roman Catholic himself, Jonson shared in the repression suffered by his co-religionists in the wake of the Plot, and the play fiercely satirizes the man they chiefly blamed for this, Robert Cecil. The elaborate format which Jonson devised for the 1607 edition of Volpone, with a dedication, Epistle and numerous commendatory poems, is reproduced here photographically, allowing the reader to appreciate Jonson’s covert meanings and to approach the text as those in 1607 might have done. richard dutton is Humanities Distinguished Professor of English at Ohio State University. He has published widely on censorship of Renaissance Drama, and is well known as a scholar of Ben Jonson and as an editor of Jonson’s works. He is the editor of Volpone for The Cambridge Edition of the Works of Ben Jonson. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-87954-5 — Ben Jonson, Volpone and the Gunpowder -
Seeing to Things in <I>Volpone</I>
SEEING TO THINGS IN VOLPONE Frances Nicol Teague NEAR THE END OF VOLPONE, Volpone turns on Corvino and says to him: Methinks Yet you, … the fine bird Corvino, That have such moral emblems on your name, Should not have sung your shame and dropped your cheese, To let the Fox laugh at your emptiness. (V.viii.9–14)1 This speech alludes to one of Aesop’s fables, but it also refers to images in emblem books. Emblems, combining the visual and the verbal, offer a resource for this play. In this instance, Gilles Corozet’s Hecatomgraphie (1542) has as its “eleventh fable that of the fox and the crow with its motto/title ‘Ne croire la louange des flateurs,’ and its woodcut of the crow dropping the cheese into the fox’s mouth.”2 Clearly, Volpone refers to this woodcut or one similar to it using the fable from Aesop (see Figure 1). The lines may also recall that one of the play’s sources is beast lore. D. A. Scheve explains that: The episode of the fox feigning death is set forth in detail in a book Jonson had in his own library,’ Conrad Gesner’s Historia Animahum (1557): When she [the fox] sees the flocks of birds flying about, she lies prone on the ground and at the same time shuts her eyes, and places her snout on the ground, and holds her breath, and at once assumes the appearance and likeness of one sleeping or rather dead. But when the birds see her thus stretched out upon the ground, thinking her dead, they glide down in flocks, and sitting on her, they mock her, as it were. -
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. -
Theatre Archive Project Archive
University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no. -
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. -
The Circle Pattern in Ben Jonson's Volpone
The Circle Pattern in Ben Jonson’s Volpone Jesús Cora Alonso UNIVERSIDAD DE ALCALÁ The image of the circle is a unifying motif in Ben Jonson’s works.1 In his masques, it stands for harmony and perfection, realm, marriage, dance and cosmos, and its centre represents reason and the King in a propagandistic, conservative celebration of monarchy. In his poetry, the circle and sphere of perfection are also present, but the centre becomes more important as it stands for, on the one hand, Jonson’s anxieties over the misrepresentation of his character and opinions by others and his fear of self-exposure, and, on the other hand, the virtues that he wished to possess and praised in others: self-assuredness, inner stability, and the Stoic detachment and isolation from the problems and trials that the outside world poses. In his plays, Jonson not only introduces the occasional circle image, he also structures them following a pattern consisting in the creation of different concentrical levels of ‘performance’ and ‘audience’ within the play and reflecting the contemporary view of the universe as structured in concentrical spheres or circles. In Volpone; or, The Fox (1605), the circle image is not only explicit in a couple of instances, but it is also implicit in the behaviour of the characters that bear bird names, and in the above-mentioned usual Jonsonian pattern. These elements are interdependent and reinforce one another, making the circle, as I say, the unifying image of the play. Nevertheless, besides the varying degree of explicitness and clarity there is also a difference as to the importance of the function of these elements. -
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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.