Ben Jonson: Renaissance Dramatist by Sean McEvoy

By Sean McEvoy

In occasion of its Silver Anniversary, the scholarly magazine Dance Research has invited a few extraordinary historian and associates to give a contribution essays on dance and its profound impression at the cultural and highbrow lifetime of the early sleek interval. members discover the natue of shape and the numerous hyperlinks among rhetoric, discourses on paintings and structure, and the language of dancing masters. The booklet argues for the centrality of dance to the human experience.

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Extra info for Ben Jonson: Renaissance Dramatist

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All of these factors clearly had some role to play in the development of his distinctive theatrical style. JONSON AND AUTHORITY Jonson has some claim to be the first professional writer in English literature (Dutton : ). He wrote both for aristocratic   ,   patrons and for the commercial theatre. He also published his work, dedicated to the nobility, in order to make money. Sitting uneasily between these two camps, he nevertheless established himself as the individual originator of his writings, which was unusual enough.

English names which indicate the personalities of many characters have replaced the Italian ones. The following brief discussion will be of the Folio text, except where useful comparisons can be drawn.    (‒)  The plot of Every Man In His Humour, such as it is, very loosely draws on the conventions of Roman New Comedy. For some reason old Edward Knowell wants to make sure that his son young Edward is not led astray by the gallant wastrel Wellbred and sets off into the city to follow him to Wellbred’s lodgings.

The Case is Altered is in many respects a conventional Elizabethan comedy concerning the romantic and familial misunderstandings and misadventures of a group of Italian aristocrats, punctuated by comic scenes featuring their foolish servants. Jonson’s sources were not to    (‒)  be found on the contemporary stage, however, but in the Roman ‘New Comedy’ from which Elizabethan comedy was itself derived. Jonson merged Captivi (‘The Captives’) and Aulularia (‘The Pot of Gold’) by the Roman comic playwright Plautus (c.

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