John Dryden offered a more common assessment in the "Essay of Dramatic Poesie," in which his Avatar Neander compares Shakespeare to Homer and Jonson to Virgil: the former represented profound creativity, the latter polished artifice. Although William Shakespeare is now regarded as the most significant writer of the time, and indeed, of all time, Jonson dominated the playwriting scene during that period. The rest of his life, spent in retirement, he filled primarily with study and writing; at his death, on August 6, 1637, two unfinished plays were discov­ered among his mass of papers and manuscripts. Benjamin Jonson was an English Renaissance dramatist, poet and actor. The Cambridge edition of the works of Ben Jonson. John Aubrey wrote of Jonson in Brief Lives. The epigrams explore various attitudes, most from the satiric stock of the day: complaints against women, courtiers and spies abound. Drummond undertook to record as much of Jonson's conversation as he could in his diary, and thus recorded aspects of Jonson's personality that would otherwise have been less clearly seen. Henslowe's diary indicates that Jonson had a hand in numerous other plays, including many in genres such as English history with which he is not otherwise associated. Jonson, Ben, David M. Bevington, Martin Butler, and Ian Donaldson. Benjamin Jonson (c. 11 June 1572 – c. 16 August 1637[2]) was an English playwright and poet. Jonson’s earliest comedies, such as Every Man in His Humour, derive from Roman comedy in form and structure and are noteworthy as models of the comedy of “humours,” in which each character represents a type dominated by a particular obsession. Apart from two tragedies, Sejanus and Catiline, that largely failed to impress Renaissance audiences, Jonson's work for the public theatres was in comedy. 2012. He was an accomplished playwright and critic. For “twelve years a papist,” he was also—in fact though not in title—Protestant England’s first poet laureate. [citation needed] William Drummond reports that during their conversation, Jonson scoffed at two apparent absurdities in Shakespeare's plays: a nonsensical line in Julius Caesar and the setting of The Winter's Tale on the non-existent seacoast of Bohemia. Jonson, whose reputation had survived, appears to have been less interesting to some readers than writers such as Thomas Middleton or John Heywood, who were in some senses "discoveries" of the 19th century. Ben Johnson [1572-1637] was a noted British poet, playwright and critic who is best remembered for some of his plays such as 'Volpone' and 'The Alchemist'. English critic L.C. Jonson largely avoided the debates about rhyme and meter that had consumed Elizabethan classicists such as Thomas Campion and Gabriel Harvey. Drummond noted he was "a great lover and praiser of himself, a contemner and scorner of others".[3]. In Harp, Richard; Stewart, Stanley. [19] He is buried in the north aisle of the nave in Westminster Abbey, with the inscription "O Rare Ben Johnson [sic]" set in the slab over his grave. To be universally accepted; to be damned by the praise that quenches all desire to read the book; to be afflicted by the imputation of the virtues which excite the least pleasure; and to be read only by historians and anti­quaries—this is the most perfect conspiracy of approv­al.” With this began a reevaluation of Jonson, whose reputation benefited from modernist reaction against Romanticist sensibility, and who began to be appreciated on his own terms. Critics note that Jonson’s later plays, beginning with The Divell is an Asse in 1616, betray the dramatist’s diminishing artistry. He was a man of contraries. In this way he acquired the habit of trying to express unpoetical ideas in verse. His late plays or "dotages", particularly The Magnetic Lady and The Sad Shepherd [Wikidata], exhibit signs of an accommodation with the romantic tendencies of Elizabethan comedy. [citation needed]. [57], 17th-century English playwright, poet, and actor, † = Not published in the Beaumont and Fletcher folios. Jonson's father lost his property, was imprisoned, and suffered forfeiture under Queen Mary; having become a clergyman upon his release, he died a month before his son's birth. Poet Ben Jonson was a towering figure among the English writers of the late 16 th and early 17 th centuries. This volume offers an abundant and representative selection of the verse of Ben Jonson and the Cavalier poets. ", Digitised Facsimiles of Jonson's second folio, 1640/1, Video interview with scholar David Bevington, This page was last edited on 4 March 2021, at 08:27. ", "Marketing Luxury at the New Exchange: Jonson's, The Cambridge edition of the works of Ben Jonson, Audio resources on Ben Jonson at TheEnglishCollection.com, Poems by Ben Jonson at PoetryFoundation.org, Robert Pinsky reads "His Excuse For Loving", Robert Pinsky reads "My Picture Left in Scotland", "Archival material relating to Ben Jonson", A Private Entertainment of the King and Queen on May-Day, The Entertainment of the Kings of Great Britain and Denmark, The Masque of the Inner Temple and Gray's Inn, Four Plays, or Moral Representations, in One, https://en.wikipedia.org/w/index.php?title=Ben_Jonson&oldid=1010199130, 16th-century English dramatists and playwrights, 17th-century English dramatists and playwrights, Converts to Anglicanism from Roman Catholicism, Converts to Roman Catholicism from Anglicanism, English people of the Anglo-Spanish War (1585–1604), People educated at Westminster School, London, Wikipedia articles incorporating a citation from the 1911 Encyclopaedia Britannica with Wikisource reference, Articles with Encyclopædia Britannica links, Wikipedia articles incorporating a citation from the ODNB, Short description is different from Wikidata, Articles with unsourced statements from September 2016, Articles needing additional references from August 2017, All articles needing additional references, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with CINII identifiers, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Wikipedia articles with multiple identifiers, Creative Commons Attribution-ShareAlike License. But there were also more negative spins on Jonson's learned art; for instance, in the 1750s, Edward Young casually remarked on the way in which Jonson's learning worked, like Samson's strength, to his own detriment. [8] Jonson's mother married a master bricklayer two years later. Teague, Frances. A few attributions of anonymous plays, such as The London Prodigal, have been ventured by individual researchers, but have met with cool responses. Jonson began his theatrical career as a strolling player in the provinces. Ben Jonson was, however, a greater poet than the majority of the Elizabethan satiric authors, and occasionally he gives Macilente lines which sound new depths in … Each exposes some aberration of human appetite through comic exagger­ation and periodic moralisms while evincing Jonson’s interest in the variety of life and in the villain as a cunning, imaginative artist. Underwood, published in the expanded folio of 1640, is a larger and more heterogeneous group of poems. In this comparison, Jonson represents the cavalier strain of poetry, emphasising grace and clarity of expression; Donne, by contrast, epitomised the metaphysical school of poetry, with its reliance on strained, baroque metaphors and often vague phrasing. Of Epicoene, Jonson told Drummond of a satirical verse which reported that the play's subtitle was appropriate, since its audience had refused to applaud the play (i.e., remained silent). The 1640 volume also contains three elegies which have often been ascribed to Donne (one of them appeared in Donne's posthumous collected poems). But that’s exactly what he was, and he got away with it too. Ben Jonson, byname of Benjamin Jonson, (born June 11?, 1572, London, England—died August 6, 1637, London), English Stuart dramatist, lyric poet, and literary critic. "[3] None of his early tragedies survive, however. Jonson died on or around 16 August 1637, and his funeral was held the next day. The comedy The Widow was printed in 1652 as the work of Thomas Middleton, Fletcher and Jonson, though scholars have been intensely sceptical about Jonson's presence in the play. Born in London of Border descent, Jonson was the son of a clergyman who died before his son's birth. [47] Jonson concludes that "there was ever more in him to be praised than to be pardoned." On Poet-Ape Ben Jonson - 1572-1637 Poor Poet-Ape, that would be thought our chief, Whose works are e'en the frippery of wit, From brokage is become so bold a thief, As we, the robb'd, leave rage, and pity it. Drummond also reported Jonson as saying that Shakespeare "wanted art" (i.e., lacked skill). This poem, "To the Memory of My Beloved the Author, Mr. William Shakespeare and What He Hath Left Us", did a good deal to create the traditional view of Shakespeare as a poet who, despite "small Latine, and lesse Greeke",[49] had a natural genius. Jonson's poetry continues to interest scholars for the light which it sheds on English literary history, such as politics, systems of patronage and intellectual attitudes. [3] The final scene of this play, whilst certainly not to be taken at face value as a portrait of Jonson, offers a caricature that is recognisable from Drummond's report – boasting about himself and condemning other poets, criticising performances of his plays and calling attention to himself in any available way. In the event, the pupil and the master became friends, and the intellectual influence of Camden's broad-ranging scholarship upon Jonson's art and literary style remained notable, until Camden's death in 1623. Ben Jonson’s touching elegy on his son, ‘child of his right hand’ - analysed by Dr Oliver Tearle 'On My First Sonne', Ben Jonson’s short poem for his son Benjamin, who died aged seven, is one of the most moving short elegies in the English language. In an essay printed in The Sacred Wood, T. S. Eliot attempted to repudiate the charge that Jonson was an arid classicist by analysing the role of imagination in his dialogue. For the most part he followed the great north road, and was treated to lavish and enthusiastic welcomes in both towns and country houses. Shortly after his release from a brief spell of imprisonment imposed to mark the authorities' displeasure at the work, in the second week of October 1605, he was present at a supper party attended by most of the Gunpowder Plot conspirators. But there's more to the story than that! [40][41], It has been claimed that the inscription could be read "Orare Ben Jonson" (pray for Ben Jonson), possibly in an allusion to Jonson's acceptance of Catholic doctrine during his lifetime (although he had returned to the Church of England) but the carving shows a distinct space between "O" and "rare". Interestingly, scholars speculate that the dis­pute, which became known as the “War of the The­atres,” was mutually contrived in order to further the authors’ careers. He popularised the comedy of humours; he is best known for the satirical plays Every Man in His Humour[3] (1598), Volpone, or The Fox (c. 1606), The Alchemist (1610) and Bartholomew Fair (1614) and for his lyric and epigrammatic poetry. Ben Jonson was an English playwright and poet best known for his satiric comedies (types of comedies that poke fun at human weaknesses). "He is generally regarded as the second most important English dramatist, after William Shakespeare, during the reign of James I. [31][32] He did this in flamboyant style, pointedly drinking a full chalice of communion wine at the eucharist to demonstrate his renunciation of the Catholic rite, in which the priest alone drinks the wine. 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