Thomas Middleton's city comedy Your Five Gallants and Ben Jonson's “comicall satyre” Cynthia's Revels make a surprising pair, given the lower-class London criminals and raucous, physical humor of Middleton's play and the Ovidian-inspired premise and courtly setting of Jonson's. Although heretofore unrecognized, Middleton based Your Five Gallants, his Blackfriars debut, on Jonson's own Blackfriars debut, Cynthia's Revels. This relationship becomes most apparent in the final masques that end both plays. Middleton also modeled the masque in his play on the first Jacobean court masque, Masque of the Knights. This article argues that under Middleton's hand the staged masque served a poetic function: As playgoers to Your Five Gallants responded to the embedded final masque, they enacted their social knowledge and thus claimed social positions. Through their responses to the masque the audience could demonstrate how they understood their status vis-à-vis the subjects of the satire, and, in a further extension of both form and content, the masque enabled Middleton to unmask and censure the audience and to mount a critique of Jonson's author-centered poetics, offering his own audience-based approach as a rebuttal.
{"title":"Masqued Poetics in Your Five Gallants: Middleton's Response to Jonson","authors":"Sharon J. Harris","doi":"10.3366/BJJ.2018.0226","DOIUrl":"https://doi.org/10.3366/BJJ.2018.0226","url":null,"abstract":"Thomas Middleton's city comedy Your Five Gallants and Ben Jonson's “comicall satyre” Cynthia's Revels make a surprising pair, given the lower-class London criminals and raucous, physical humor of Middleton's play and the Ovidian-inspired premise and courtly setting of Jonson's. Although heretofore unrecognized, Middleton based Your Five Gallants, his Blackfriars debut, on Jonson's own Blackfriars debut, Cynthia's Revels. This relationship becomes most apparent in the final masques that end both plays. Middleton also modeled the masque in his play on the first Jacobean court masque, Masque of the Knights. This article argues that under Middleton's hand the staged masque served a poetic function: As playgoers to Your Five Gallants responded to the embedded final masque, they enacted their social knowledge and thus claimed social positions. Through their responses to the masque the audience could demonstrate how they understood their status vis-à-vis the subjects of the satire, and, in a further extension of both form and content, the masque enabled Middleton to unmask and censure the audience and to mount a critique of Jonson's author-centered poetics, offering his own audience-based approach as a rebuttal.","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":"15 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78730675","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Recent commentators on the “Poetomachia” have stressed its ludic and commercially-driven aspects. By the time Volpone appeared in 1605, they claim, any animosity on Jonson's part towards his former adversaries Dekker and Marston had faded away. After all, in 1604 he had collaborated with Dekker on London's entertainment for James I, and Marston had written flatteringly of Jonson in The Malcontent. This note presents evidence that in fact the enmity lingered long after Jonson formally declared his retreat from the quarrel in Poetaster. Editors of Volpone have not previously noticed that when, in the Prologue, Jonson boasts of having written the play without the aid of a “journeyman”, this alludes to Marston and Dekker. In Poetaster, Jonson repeatedly describes the Dekker character, Demetrius, as “journeyman” to the gentlemanly Crispinus (a representative of Marston), and Dekker picks up on this when replying in Satiromastix. Jonson insulting Dekker by calling him Marston's “journeyman” is typical in several respects: he habitually applies the language of craft and commerce to his literary enemies in a contemptuous way (he represents Dekker in Poetaster as a mere hack, without Horace-Jonson's exalted sense of vocation); and in his “Poets' War” plays, he portrays Dekker as Marston's subordinate.
{"title":"The Poets' Cold War: Dekker, Marston, and the Prologue to Volpone","authors":"Peter Brynmor Roberts","doi":"10.3366/BJJ.2018.0227","DOIUrl":"https://doi.org/10.3366/BJJ.2018.0227","url":null,"abstract":"Recent commentators on the “Poetomachia” have stressed its ludic and commercially-driven aspects. By the time Volpone appeared in 1605, they claim, any animosity on Jonson's part towards his former adversaries Dekker and Marston had faded away. After all, in 1604 he had collaborated with Dekker on London's entertainment for James I, and Marston had written flatteringly of Jonson in The Malcontent. This note presents evidence that in fact the enmity lingered long after Jonson formally declared his retreat from the quarrel in Poetaster. Editors of Volpone have not previously noticed that when, in the Prologue, Jonson boasts of having written the play without the aid of a “journeyman”, this alludes to Marston and Dekker. In Poetaster, Jonson repeatedly describes the Dekker character, Demetrius, as “journeyman” to the gentlemanly Crispinus (a representative of Marston), and Dekker picks up on this when replying in Satiromastix. Jonson insulting Dekker by calling him Marston's “journeyman” is typical in several respects: he habitually applies the language of craft and commerce to his literary enemies in a contemptuous way (he represents Dekker in Poetaster as a mere hack, without Horace-Jonson's exalted sense of vocation); and in his “Poets' War” plays, he portrays Dekker as Marston's subordinate.","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":"27 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2018-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77823153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Andrew Hui, The Poetics of Ruins in Renaissance Literature","authors":"Stewart Mottram","doi":"10.3366/BJJ.2018.0216","DOIUrl":"https://doi.org/10.3366/BJJ.2018.0216","url":null,"abstract":"","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":"87 1","pages":"141-146"},"PeriodicalIF":0.5,"publicationDate":"2018-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89699940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Over the past twenty years or so, performance-based efforts to recreate the staging conditions and production modes of Elizabethan/Jacobean playhouses through “original practices” (OP) have develop...
{"title":"“Original Practices” and Jonson's First Folio","authors":"Brent Griffin","doi":"10.3366/BJJ.2018.0208","DOIUrl":"https://doi.org/10.3366/BJJ.2018.0208","url":null,"abstract":"Over the past twenty years or so, performance-based efforts to recreate the staging conditions and production modes of Elizabethan/Jacobean playhouses through “original practices” (OP) have develop...","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":"1 1","pages":"19-31"},"PeriodicalIF":0.5,"publicationDate":"2018-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74534411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
One significant yet understudied aspect of the First Folio printings of Epicoene and The Alchemist is that their marginal stage directions highlight the importance of Jonson's acoustic-oriented dra...
{"title":"Jonson's Acoustic-Oriented Dramaturgy in the First Folio Playtexts of Epicoene and The Alchemist","authors":"Christopher D. Foley","doi":"10.3366/BJJ.2018.0211","DOIUrl":"https://doi.org/10.3366/BJJ.2018.0211","url":null,"abstract":"One significant yet understudied aspect of the First Folio printings of Epicoene and The Alchemist is that their marginal stage directions highlight the importance of Jonson's acoustic-oriented dra...","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":"11 1","pages":"81-105"},"PeriodicalIF":0.5,"publicationDate":"2018-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75651289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Volpone Ben Jonson employed in daring and sophisticated ways the astonishingly precise and intricate late Renaissance convention of self-addressed speech. Plentiful, conspicuous, unambiguous, va...
{"title":"Soliloquies and Self-Fashioning in Volpone: An Empirical Approach","authors":"J. Hirsh","doi":"10.3366/BJJ.2018.0210","DOIUrl":"https://doi.org/10.3366/BJJ.2018.0210","url":null,"abstract":"In Volpone Ben Jonson employed in daring and sophisticated ways the astonishingly precise and intricate late Renaissance convention of self-addressed speech. Plentiful, conspicuous, unambiguous, va...","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":"11 1","pages":"52-80"},"PeriodicalIF":0.5,"publicationDate":"2018-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90760606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Romantic period has been identified as the paradigmatic moment of transformation in western culture when the mimetic and didactic theories of literature typically favored by classical and Renai...
浪漫主义时期被认为是西方文化转型的典范时期，古典文学和近代文学所推崇的模仿和说教文学理论……
{"title":"“Of things as yet unborne”: The Poetics of Fantasy in John Marston's What You Will","authors":"James P. Bednarz","doi":"10.3366/BJJ.2018.0213","DOIUrl":"https://doi.org/10.3366/BJJ.2018.0213","url":null,"abstract":"The Romantic period has been identified as the paradigmatic moment of transformation in western culture when the mimetic and didactic theories of literature typically favored by classical and Renai...","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":"25 1","pages":"119-132"},"PeriodicalIF":0.5,"publicationDate":"2018-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82417502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Ben Jonson's Sejanus, performed at court in the first year of King James’ reign in 1603, Arruntius seemingly figures as “Jonson's spokesperson.” While lauding the moral responsibility of Arrunti...
{"title":"“[P]lain and passive fortitude”: Stoicism and Spaces of Dissent in Sejanus","authors":"M. Smith","doi":"10.3366/BJJ.2018.0209","DOIUrl":"https://doi.org/10.3366/BJJ.2018.0209","url":null,"abstract":"In Ben Jonson's Sejanus, performed at court in the first year of King James’ reign in 1603, Arruntius seemingly figures as “Jonson's spokesperson.” While lauding the moral responsibility of Arrunti...","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":"17 1","pages":"32-51"},"PeriodicalIF":0.5,"publicationDate":"2018-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90206866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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