This essay examines the possible significance of blot variants in both Shakespeare's corpus and later English Bible translations, especially their increased use in l611 King James Version and the Revised Standard Edition compared to earlier English Bible translations. The shared fondness for these variants and their figurative potential suggest the literal constraints of inscription and erasure shown in the neglected “discourse of inscription” that appears in the poet-playwright's and later Bible translators' printed works.
{"title":"Shakespeare's “Vicious Blots” and the Diction of Later English Bible Translations","authors":"Phillip K. Arrington","doi":"10.3366/bjj.2020.0283","DOIUrl":"https://doi.org/10.3366/bjj.2020.0283","url":null,"abstract":"This essay examines the possible significance of blot variants in both Shakespeare's corpus and later English Bible translations, especially their increased use in l611 King James Version and the Revised Standard Edition compared to earlier English Bible translations. The shared fondness for these variants and their figurative potential suggest the literal constraints of inscription and erasure shown in the neglected “discourse of inscription” that appears in the poet-playwright's and later Bible translators' printed works.","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":"83521873","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}
As portrayed in The Alchemist, Ben Jonson's London grappled with the challenges of a burgeoning urban life and its effects on morality and consumption. While using his authorship as lectern was not unique, Jonson's message, that the order of improving one's status stood to be perverted, was; and in featuring the local preoccupation with alchemy and the apocalypse, he revealed the corrupt and toxic relationship between the city's economic and religious zeal. Martin Luther's sixteenth century idea of a new religion called for man's return to his covenant with God and to simple faith. By Jonson's time however, London faced an additional battle from within, as extreme religion gained ground. Because the play was coterminous with Jonson's audience's lives, they were well-aware that pure-Protestants provoked anxieties to gather believers. In straining to escape their present and to a future marked by heavenly expectations, Jonson's characters evoked his contemporaries’ desires to address their own exigencies. By capturing his audience's attention referencing popular current events, Jonson created a stage for his greater concern, that faith in economic as well as religious transcendence exposed his milieu to divisive radicalism and victimization.
{"title":"Ben Jonson's The Alchemist: Shaping Behavior in the Shadow of the Apocalypse","authors":"Mechlowicz Neal","doi":"10.3366/bjj.2020.0285","DOIUrl":"https://doi.org/10.3366/bjj.2020.0285","url":null,"abstract":"As portrayed in The Alchemist, Ben Jonson's London grappled with the challenges of a burgeoning urban life and its effects on morality and consumption. While using his authorship as lectern was not unique, Jonson's message, that the order of improving one's status stood to be perverted, was; and in featuring the local preoccupation with alchemy and the apocalypse, he revealed the corrupt and toxic relationship between the city's economic and religious zeal. Martin Luther's sixteenth century idea of a new religion called for man's return to his covenant with God and to simple faith. By Jonson's time however, London faced an additional battle from within, as extreme religion gained ground. Because the play was coterminous with Jonson's audience's lives, they were well-aware that pure-Protestants provoked anxieties to gather believers. In straining to escape their present and to a future marked by heavenly expectations, Jonson's characters evoked his contemporaries’ desires to address their own exigencies. By capturing his audience's attention referencing popular current events, Jonson created a stage for his greater concern, that faith in economic as well as religious transcendence exposed his milieu to divisive radicalism and victimization.","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":"81130436","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}
Sonnet 129 ironically reinscribes Galatians 5:16–26, reconfiguring the relationship between spirit, lust, and will articulated in Paul's epistle. Paul counsels his audience not to “fulfil the luste...
{"title":"Lust, Spirit, and the Vice List in Shakespeare's Sonnet 129 and Galatians 5","authors":"Marlin E. Blaine","doi":"10.3366/bjj.2020.0286","DOIUrl":"https://doi.org/10.3366/bjj.2020.0286","url":null,"abstract":"Sonnet 129 ironically reinscribes Galatians 5:16–26, reconfiguring the relationship between spirit, lust, and will articulated in Paul's epistle. Paul counsels his audience not to “fulfil the luste...","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89865303","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}
Thomas Kyd's The Householder's Philosophy (1588) is a translation of Torquato Tasso's Il padre di famiglia (1582). While translating Tasso's text, Kyd made some sizeable additions to it, which would appear to spell out his stance on a series of issues. In particular, Kyd significantly expands Tasso's discussion on usury. Kyd's take on usury can be divided into two sections: first, a fiery invective followed by a quotation from Dante; second, a less heated denunciation based on a rational argument summarizing Aristotle's take on the matter. While the former seems to be Kyd's own invention, as scholars have previously suggested, no one has ever pointed out that the latter is in fact plagiarized from another Italian text, namely Cristoforo Landino's Comento sopra la Comedia di Dante (1481). Among other reasons, this discovery seems especially interesting because it adds another piece to the patchy mosaic of Kyd's intellectual life. As it happens, Kyd's decision to insert elements from such an encyclopedically comprehensive humanist text of literary criticism as Landino's Comento into a philosophical tract imbued with humanist notions concerning society, the family, astrology, philosophy, and cosmography seems further to connect Kyd with the continental intellectual milieu. The latter thus appears to have caught Kyd's interest even beyond his well-known penchant for neo-Senecan drama and French Renaissance literature.
托马斯·基德的《户主哲学》(1588)是托尔夸托·塔索的《家父》(1582)的翻译。在翻译塔索的文本时，基德做了一些相当大的补充，这似乎阐明了他在一系列问题上的立场。特别是基德对塔索关于高利贷的讨论进行了极大的拓展。基德对高利贷的看法可以分为两个部分:第一部分是激烈的谩骂，随后引用了但丁的话;第二，一篇不那么激烈的谴责，基于一个理性的论点，总结了亚里士多德对这个问题的看法。正如学者们先前提出的那样，前者似乎是基德自己的发明，但从来没有人指出，后者实际上抄袭了另一篇意大利文本，即克里斯托弗·兰迪诺(Cristoforo Landino)的《Comento sopra la Comedia di Dante》(1481)。除其他原因外，这一发现似乎特别有趣，因为它为基德零零星星的智力生活增添了另一块。碰巧的是，基德决定将像兰蒂诺的《Comento》这样百科全书式的人文主义文学批评文本中的元素插入到一本充满人文主义概念的哲学小册子中，这些概念涉及社会、家庭、占星术、哲学和宇宙学，这似乎进一步将基德与欧洲大陆的知识分子环境联系起来。因此，后者似乎引起了基德的兴趣，甚至超出了他对新塞内康戏剧和法国文艺复兴文学的众所周知的嗜好。
{"title":"Thomas Kyd's The Householder's Philosophy and Cristoforo Landino's Comento sopra la Comedia di Dante","authors":"Domenico Lovascio","doi":"10.3366/bjj.2020.0272","DOIUrl":"https://doi.org/10.3366/bjj.2020.0272","url":null,"abstract":"Thomas Kyd's The Householder's Philosophy (1588) is a translation of Torquato Tasso's Il padre di famiglia (1582). While translating Tasso's text, Kyd made some sizeable additions to it, which would appear to spell out his stance on a series of issues. In particular, Kyd significantly expands Tasso's discussion on usury. Kyd's take on usury can be divided into two sections: first, a fiery invective followed by a quotation from Dante; second, a less heated denunciation based on a rational argument summarizing Aristotle's take on the matter. While the former seems to be Kyd's own invention, as scholars have previously suggested, no one has ever pointed out that the latter is in fact plagiarized from another Italian text, namely Cristoforo Landino's Comento sopra la Comedia di Dante (1481). Among other reasons, this discovery seems especially interesting because it adds another piece to the patchy mosaic of Kyd's intellectual life. As it happens, Kyd's decision to insert elements from such an encyclopedically comprehensive humanist text of literary criticism as Landino's Comento into a philosophical tract imbued with humanist notions concerning society, the family, astrology, philosophy, and cosmography seems further to connect Kyd with the continental intellectual milieu. The latter thus appears to have caught Kyd's interest even beyond his well-known penchant for neo-Senecan drama and French Renaissance literature.","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81597873","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 stage history of Shakespeare's The Winter's Tale reflects changing critical perceptions about its themes as well as an evolution of theatrical production over a span of four centuries. First noted in astrologer Simon Forman's record of a performance on May 15, 1611, the play was popular with court audiences but disappeared from the stage when the theatres were closed at mid-century. It reappeared in a truncated performance on January 15, 1741. Nine months later David Garrick offered his abbreviated text—essentially a maudlin, three-act pastoral diversion—to popular appeal but critical censure. In 1802, John Philip Kemble's production presented a fuller, though Bowdlerized, text, featuring the great Sarah Siddons as Hermione. Hermione's role increasingly reflected the Victorian image of the selfless spouse who maintains her moral fiber under duress. During Charles Kean's directorship at the Princess's Theatre starting in 1850, the play acquired more lavish sets and scenery intended to reflect the historical context of the action, but the text sank under the weight of such ponderous efforts at realism. With the arrival of Harley Granville Barker's 1912 production at the Savoy Theatre, the play was returned to a more Elizabethan identity; a smaller, less cluttered stage permitted a faster-paced production with greater attention paid to Leontes as a psychologically fragile husband and monarch. This emphasis on the play as a study of the troubled marriage of a troubled king has persisted into the twentieth century as directors such as Jane Howell and Gregory Doran have lent this romance a convincing emotional depth.
莎士比亚的《冬天的故事》的舞台历史反映了对其主题的不断变化的批评看法，以及四个世纪以来戏剧制作的演变。1611年5月15日，占星家西蒙·福尔曼(Simon Forman)在一场演出的记录中首次提到了该剧，该剧在宫廷观众中很受欢迎，但在世纪中叶剧院关闭后，该剧从舞台上消失了。它在1741年1月15日的一次删减演出中重新出现。9个月后，大卫·加里克提出了他的简短文本——本质上是一个伤感的三幕田园式的消遣——虽然广受欢迎，但却遭到了批评。1802年，约翰·菲利普·肯布尔(John Philip Kemble)的作品呈现了一个更完整的文本，尽管经过了鲍德勒的修改，由伟大的莎拉·西登斯(Sarah Siddons)饰演赫敏。赫敏的角色越来越多地反映了维多利亚时代无私的配偶形象，她在胁迫下保持着自己的道德品质。1850年，查尔斯·基恩(Charles Kean)在公主剧院(Princess’s Theatre)担任导演期间，该剧获得了更多奢华的布景和布景，旨在反映行动的历史背景，但在现实主义方面的沉重努力下，文本陷入了困境。随着哈利·格兰维尔·巴克1912年在萨沃伊剧院的演出，这部剧又回到了伊丽莎白时代;一个更小、更整洁的舞台可以让演出节奏更快，人们更多地关注莱昂提斯作为一个心理脆弱的丈夫和君主。这种强调戏剧作为一个问题国王的问题婚姻的研究一直持续到20世纪，像简·豪厄尔和格雷戈里·多兰这样的导演赋予了这个浪漫故事令人信服的情感深度。
{"title":"“Perform'd in this wide gap of time”: A Stage History of The Winter's Tale","authors":"C. Baker","doi":"10.3366/bjj.2020.0270","DOIUrl":"https://doi.org/10.3366/bjj.2020.0270","url":null,"abstract":"The stage history of Shakespeare's The Winter's Tale reflects changing critical perceptions about its themes as well as an evolution of theatrical production over a span of four centuries. First noted in astrologer Simon Forman's record of a performance on May 15, 1611, the play was popular with court audiences but disappeared from the stage when the theatres were closed at mid-century. It reappeared in a truncated performance on January 15, 1741. Nine months later David Garrick offered his abbreviated text—essentially a maudlin, three-act pastoral diversion—to popular appeal but critical censure. In 1802, John Philip Kemble's production presented a fuller, though Bowdlerized, text, featuring the great Sarah Siddons as Hermione. Hermione's role increasingly reflected the Victorian image of the selfless spouse who maintains her moral fiber under duress. During Charles Kean's directorship at the Princess's Theatre starting in 1850, the play acquired more lavish sets and scenery intended to reflect the historical context of the action, but the text sank under the weight of such ponderous efforts at realism. With the arrival of Harley Granville Barker's 1912 production at the Savoy Theatre, the play was returned to a more Elizabethan identity; a smaller, less cluttered stage permitted a faster-paced production with greater attention paid to Leontes as a psychologically fragile husband and monarch. This emphasis on the play as a study of the troubled marriage of a troubled king has persisted into the twentieth century as directors such as Jane Howell and Gregory Doran have lent this romance a convincing emotional depth.","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76422989","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 The Muses' Concord, James H. Jensen observes that rhetorical theory and practice ground all the arts of the Renaissance era (47). This connection is evident in the discourse of rhetorical and da...
{"title":"“She dances featly”: Dance as Rhetoric in Act 4, Scene 4 of The Winter's Tale","authors":"Melissa Hudler","doi":"10.3366/bjj.2020.0271","DOIUrl":"https://doi.org/10.3366/bjj.2020.0271","url":null,"abstract":"In The Muses' Concord, James H. Jensen observes that rhetorical theory and practice ground all the arts of the Renaissance era (47). This connection is evident in the discourse of rhetorical and da...","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83464966","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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