{"title":"Identifying The Play Apologized for in the 1610 Epilogue to Mucedorus And Its “Cannibal” Poet","authors":"Bret Jones","doi":"10.3366/BJJ.2021.0301","DOIUrl":"https://doi.org/10.3366/BJJ.2021.0301","url":null,"abstract":"","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91183086","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":"Anthony D. Baker, Shakespeare, Theology, and the Unstaged God","authors":"P. Stegner","doi":"10.3366/BJJ.2021.0304","DOIUrl":"https://doi.org/10.3366/BJJ.2021.0304","url":null,"abstract":"","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2021-04-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78802926","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":"Shakespeare's Othello: Some Important Modern Editions","authors":"R. C. Evans","doi":"10.3366/bjj.2020.0290","DOIUrl":"https://doi.org/10.3366/bjj.2020.0290","url":null,"abstract":"","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85527695","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":"Three Notes on Faulty Bilingualism in Shakespeare's The Merry Wives of Windsor and Middleton's A Chaste Maid in Cheapside","authors":"B. Sokol","doi":"10.3366/bjj.2020.0288","DOIUrl":"https://doi.org/10.3366/bjj.2020.0288","url":null,"abstract":"","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79486089","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 revival of commercial “private” theater by the Children of Paul's in 1599 and the Children of the Chapel in 1600 transformed the culture of playgoing in London at the end of the sixteenth century. It was during this period that John Marston at Paul's and Ben Jonson at Blackfriars attracted attention at these theaters by ridiculing each other personally and denigrating each other's work. In doing so they converted these playhouses into forums for staging ideologically opposed interpretations of drama. Rather than aligning themselves with each other against the “public” theater, as Alfred Harbage had assumed in his influential chapter on “The Rival Repertories” in Shakespeare and the Rival Traditions, Jonson and Marston's satire of each other's work used Paul's and Blackfriars to debate the question of the legitimacy of the drama they staged and the status of the writers who composed it. Their debate on what drama should and should not be constitutes one of the most significant critical controversies in early modern English theater. It constitutes part of the first significant criticism of contemporary drama in English. The point of this essay is to account for how, when Jonson began writing for the Children of the Chapel at Blackfriars in 1600, Marston at Paul's became one of his principal targets through personal invective framed as a series of generalized strictures excoriating the obscenity and plagiarism of contemporary private theater.
{"title":"Jonson, Marston, Shakespeare and the Rhetoric of Topicality","authors":"James P. Bednarz","doi":"10.3366/bjj.2020.0282","DOIUrl":"https://doi.org/10.3366/bjj.2020.0282","url":null,"abstract":"The revival of commercial “private” theater by the Children of Paul's in 1599 and the Children of the Chapel in 1600 transformed the culture of playgoing in London at the end of the sixteenth century. It was during this period that John Marston at Paul's and Ben Jonson at Blackfriars attracted attention at these theaters by ridiculing each other personally and denigrating each other's work. In doing so they converted these playhouses into forums for staging ideologically opposed interpretations of drama. Rather than aligning themselves with each other against the “public” theater, as Alfred Harbage had assumed in his influential chapter on “The Rival Repertories” in Shakespeare and the Rival Traditions, Jonson and Marston's satire of each other's work used Paul's and Blackfriars to debate the question of the legitimacy of the drama they staged and the status of the writers who composed it. Their debate on what drama should and should not be constitutes one of the most significant critical controversies in early modern English theater. It constitutes part of the first significant criticism of contemporary drama in English. The point of this essay is to account for how, when Jonson began writing for the Children of the Chapel at Blackfriars in 1600, Marston at Paul's became one of his principal targets through personal invective framed as a series of generalized strictures excoriating the obscenity and plagiarism of contemporary private theater.","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81530990","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}
Arents S288 (Acc. No. 5442), pp. 87–88, and Rosenbach 239/27, p. 327, attribute the poem that begins “Are all diseases dead nor will death say” to Ben Jonson. While A.S.W. Rosenbach (1876–1952) owned both of these manuscripts at one point, it was actually Edwin Wolf 2nd (1911–1991) who penciled in the Jonson attributions in both manuscripts. However, the poem is found in many other manuscripts without this attribution. This paper considers the origin and validity of Wolf's attribution, and then asks, apart from Wolf's attribution, if it is plausible that Jonson wrote the poem. Wolf's consistently correct attributions in Arents S288 and correct attribution in MS 239/27 indicate that he was not as unreliable as the Rosenbach Museum & Library suggests. Ludovick Stuart, the Duke of Lennox and Richmond, who is the subject of the poem, died on 16 February 1624. My research demonstrates that an attribution to Jonson is highly plausible in terms of biographical, manuscript, and stylistic evidence. Jonson knew the poem's subject: he lived with the Duke's brother, Esmé Stuart, Lord d'Aubigny, for many years, and d'Aubigny occupied the role of patron. While the poem is elsewhere attributed to Sir John Eliot (b. 1592) or John Donne, neither is a strong candidate. The Duke fulfills the categories that I establish as Jonson's motivations to write in this poetic form: he was a significant figure and he had a personal connection to Jonson. Moreover, Jonson wrote for d'Aubigny's family on repeated occasions – and at length – over many decades.
{"title":"“Are all diseases dead”: The Likelihood of an Attribution to Ben Jonson","authors":"Christina Wiendels","doi":"10.3366/bjj.2020.0284","DOIUrl":"https://doi.org/10.3366/bjj.2020.0284","url":null,"abstract":"Arents S288 (Acc. No. 5442), pp. 87–88, and Rosenbach 239/27, p. 327, attribute the poem that begins “Are all diseases dead nor will death say” to Ben Jonson. While A.S.W. Rosenbach (1876–1952) owned both of these manuscripts at one point, it was actually Edwin Wolf 2nd (1911–1991) who penciled in the Jonson attributions in both manuscripts. However, the poem is found in many other manuscripts without this attribution. This paper considers the origin and validity of Wolf's attribution, and then asks, apart from Wolf's attribution, if it is plausible that Jonson wrote the poem. Wolf's consistently correct attributions in Arents S288 and correct attribution in MS 239/27 indicate that he was not as unreliable as the Rosenbach Museum & Library suggests. Ludovick Stuart, the Duke of Lennox and Richmond, who is the subject of the poem, died on 16 February 1624. My research demonstrates that an attribution to Jonson is highly plausible in terms of biographical, manuscript, and stylistic evidence. Jonson knew the poem's subject: he lived with the Duke's brother, Esmé Stuart, Lord d'Aubigny, for many years, and d'Aubigny occupied the role of patron. While the poem is elsewhere attributed to Sir John Eliot (b. 1592) or John Donne, neither is a strong candidate. The Duke fulfills the categories that I establish as Jonson's motivations to write in this poetic form: he was a significant figure and he had a personal connection to Jonson. Moreover, Jonson wrote for d'Aubigny's family on repeated occasions – and at length – over many decades.","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84237207","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":"How Big is Morose's Trunk?","authors":"W. Ramsay","doi":"10.3366/bjj.2020.0287","DOIUrl":"https://doi.org/10.3366/bjj.2020.0287","url":null,"abstract":"","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86492863","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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