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Journal articles on the topic 'Ben Jonson'

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Published: 4 June 2021

Last updated: 4 February 2022

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1

Hrdlicka, Steven. "Laborious Ben Jonson." Ben Jonson Journal 26, no. 1 (2019): 21–39. http://dx.doi.org/10.3366/bjj.2019.0237.

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This essay discusses labor in the poetry of Ben Jonson and engages some notable recent critical assessments of Jonson's labor as a concept determined by material production. Contemporaries, such as John Donne, often drew attention to Jonson's “labor” as he himself does in a Latin phrase on the frontispiece of the 1616 folio. What did he mean by it? The characteristic integration of labor that Jonson exhibits in both his poetic practice and persona was tied to a foundational idea that he received and developed from translation of Horace's “Art of Poetry.” Rather than determined by market forces

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2

Miola, Robert S. "Ben Jonson's Reception of Lucian." Ben Jonson Journal 26, no. 2 (2019): 159–79. http://dx.doi.org/10.3366/bjj.2019.0253.

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Throughout his career Ben Jonson drew variously upon Lucian, whom he encountered in the mythographies as well as in several Greek and Latin editions he owned. Jonson's receptions take the form of glancing reminiscence in the masques, as Lucian supplies mythological decoration and literary conceit. They appear as transformative allusion in Cynthia's Revels, which draws upon several satirical Dialogues of the Gods, and in The Staple of News, which re-appropriates a favorite satirical dialogue, Timon, the Misanthrope, to satirize the greed of the news industry. Jonson practices an extended and cr

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3

Wright, Laura Jayne. "“Red silence”: Ben Jonson and the Breath of Sound." Ben Jonson Journal 26, no. 1 (2019): 40–61. http://dx.doi.org/10.3366/bjj.2019.0238.

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In the prologue to Every Man in His Humour, Ben Jonson dismissed sound effects in favour of the spoken word; yet, throughout his work, Jonson uses sound to shocking and even violent effect. By examining the acoustics of Jonson's poem, A Panegyre on the Happy Entrance of James… to His First High Session of Parliament (1604), this article demonstrates that Jonson developed a distinct theory of sound, drawn from and often disagreeing with the work of Aristotle and Horace. It considers Jonson's pencil annotations on a copy of Thomas More's Carmen Gratulatorium (1509), to which his own poem is grea

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4

Hoenselaars, Ton. "Ben Jonson." Ben Jonson Journal 2, no. 1 (1995): 233–37. http://dx.doi.org/10.3366/bjj.1995.2.1.14.

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5

Manley, Lawrence, and Peter Womack. "Ben Jonson." Yearbook of English Studies 20 (1990): 255. http://dx.doi.org/10.2307/3507559.

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6

Dutton, Richard, and Richard Allen Cave. "Ben Jonson." Yearbook of English Studies 23 (1993): 334. http://dx.doi.org/10.2307/3508010.

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7

Kay, W. David, and Ian Donaldson. "Ben Jonson." Modern Language Review 83, no. 4 (1988): 950. http://dx.doi.org/10.2307/3730921.

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8

O'Brien, Richard. "“Put not / Beyond the sphere of your activity”: The Fictional Afterlives of Ben Jonson." Ben Jonson Journal 23, no. 2 (2016): 169–91. http://dx.doi.org/10.3366/bjj.2016.0163.

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This article investigates the cultural assumptions which underpin five twentieth and twenty-first century fictional depictions of Ben Jonson. Despite the wealth of documentary evidence for Jonson's dramatic and fractious biography, its particular richness has rarely captured the imagination of contemporary authors. To account for the much-reduced presence Jonson occupies in the ongoing fictionalization of the English Renaissance, the author outlines the development of a pseudo-biographical narrative of Jonson's life which evolved over the eighteenth and nineteenth centuries in relation to the

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9

Barish, Jonas, and Anne Barton. "Ben Jonson, Dramatist." Shakespeare Quarterly 37, no. 4 (1986): 522. http://dx.doi.org/10.2307/2870691.

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10

Brady, Jennifer. "Ben Jonson, Revisited." Renaissance Quarterly 55, no. 1 (2002): 272–86. http://dx.doi.org/10.2307/1512538.

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11

Wiendels, Christina. "“Are all diseases dead”: The Likelihood of an Attribution to Ben Jonson." Ben Jonson Journal 27, no. 2 (2020): 200–219. http://dx.doi.org/10.3366/bjj.2020.0284.

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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 consisten

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12

Crowley, James P. ""He took his religion by trust": The Matter of Ben Jonson's Conversion." Renaissance and Reformation 34, no. 1 (1998): 53–70. http://dx.doi.org/10.33137/rr.v34i1.10848.

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During his imprisonment for the murder of Gabriel Spencer in 1598, Ben Jonson converted to the outlawed Roman Catholic Church, and for the next 12 years made no attempt to conceal his recusant status. Jonson's biography and the historical documents treating conversion and recusancy offer evidence of the importance Jonson placed on codified religion, and provide a distinctly religious context for much of what has long been assumed to be an exclusively classically-based secular ethics operating in his writing.

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13

Miola, Robert S. "Ben Jonson, Catholic Poet." Renaissance and Reformation 37, no. 4 (2001): 101–15. http://dx.doi.org/10.33137/rr.v37i4.8740.

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Cet article considère les éléments biographiques portant sur le Catholicisme déclaré de Jonson et propose que cette religion encadrait et infléchissait sa poésie. Maintenu à travers ses années de production littéraire les plus importantes, le Catholicisme de Jonson met son art sous une lumière révélatrice. Sa poésie reflète des sympathies et des croyances catholiques autant en panégyrique qu’en satire. Elle met l’accent de façon surprenante sur les bonnes actions et la sainteté de la vierge Marie. Elle représente le monde hostile dans lequel vivaient les Catholiques anglais, assujettis à la tr

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14

Ramsay, William Everett. "Against Stanley Fish on Ben Jonson and the Community of the Same." Ben Jonson Journal 24, no. 1 (2017): 117–40. http://dx.doi.org/10.3366/bjj.2017.0182.

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In his classic essay “Authors-Readers: Ben Jonson and the Community of the Same,” Stanley Fish argues, primarily on the basis of a series of close readings, that (1) Jonson's poetry of praise hints at a community in which everyone is the same; (2) Jonson's poetry of praise is nonrepresentational, while his poetry of blame is representational; (3) Jonson's poems of praise and the members of the community mentioned in them are largely interchangeable; and (4) Jonson writes nonrepresentational poetry of praise in which everyone is the same in order to maintain his independence in a patronage soci

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15

Crowley, James P. "The "Honest Style" of Ben Jonson's Epigrams and The Forest." Renaissance and Reformation 32, no. 2 (2009): 33–56. http://dx.doi.org/10.33137/rr.v32i2.11548.

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During his imprisonment for the murder of Gabriel Spencer in 1598, Ben Jonson converted to the outlawed Roman Catholic Church, and for the next 12 years made no attempt to conceal his recusant status. Jonson's biography and the historical documents treating conversion and recusancy offer evidence of the importance Jonson placed on codified religion, and provide a distinctly religious context for much of what has been long assumed to be an exclusively classically-based secular ethics operating in his writing.

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16

Vivier, Eric D. "Judging Jonson: Ben Jonson's Satirical Self-Defense in Poetaster." Ben Jonson Journal 24, no. 1 (2017): 1–21. http://dx.doi.org/10.3366/bjj.2017.0177.

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This essay argues that Ben Jonson's antagonism with his audience in the comical satires was at least in part related to his translation of the satirist to the theater. Whereas printed satires anticipated and even encouraged the displeasure of their readers, Jonson's comical satires attempt to forestall the potential displeasure of the audience by replacing their judgment of his plays with his own judgment of his plays. When he was accused of arrogance by his fellow playwright John Marston, Jonson put Marston's judgment of Jonson's judgment on trial. This is the central “arraignment” of Poetast

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17

Aspinall, Dana E., and Richard Dutton. "Ben Jonson: Authority: Criticism." Sixteenth Century Journal 28, no. 3 (1997): 1020. http://dx.doi.org/10.2307/2543096.

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18

Gants, David. "The CUP Ben Jonson." Ben Jonson Journal 5, no. 1 (1998): 271–81. http://dx.doi.org/10.3366/bjj.1998.5.1.15.

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19

Stillman, Michael. "Ben Jonson at Breakfast." Ben Jonson Journal 8, no. 1 (2001): xiii—xiv. http://dx.doi.org/10.3366/bjj.2001.8.1.5.

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20

Schmidgall, Gary, and Bruce Thomas Boehrer. "Ben Jonson at Table." PMLA 106, no. 2 (1991): 317. http://dx.doi.org/10.2307/462670.

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21

Holyoke, T. C., and David Riggs. "Ben Jonson: A Life." Antioch Review 47, no. 2 (1989): 243. http://dx.doi.org/10.2307/4612050.

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22

Dutton, Richard, and David Riggs. "Ben Jonson: A Life." Yearbook of English Studies 22 (1992): 288. http://dx.doi.org/10.2307/3508416.

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23

Dutton, Richard, D. Heyward Brock, E. Wayne, John Gordon Sweeney, Joseph Loewenstein, and Sarah P. Sutherland. "A Ben Jonson Companion." Modern Language Review 82, no. 4 (1987): 913. http://dx.doi.org/10.2307/3729064.

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24

Evans, Robert C., and David Riggs. "Ben Jonson: A Life." Sixteenth Century Journal 21, no. 3 (1990): 517. http://dx.doi.org/10.2307/2540314.

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25

Finkelstein, Richard. "Ben Jonson on Spectacle." Comparative Drama 21, no. 2 (1987): 103–14. http://dx.doi.org/10.1353/cdr.1987.0041.

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26

Tambling, J. "DICKENS AND BEN JONSON." English 61, no. 232 (2012): 4–25. http://dx.doi.org/10.1093/english/efs005.

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27

Hawlin, Stefan. "Epistemes and Imitations: Thom Gunn on Ben Jonson." PMLA/Publications of the Modern Language Association of America 122, no. 5 (2007): 1516–30. http://dx.doi.org/10.1632/pmla.2007.122.5.1516.

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The mode of imitatio enhances the persistence and evolution of genres over time, contrary to the implications of Foucault's concept of epistemes (the idea of discontinuous historical eras). Imitatio, well practiced, awakens extraordinary commonalities of sensibility among poets of different periods (classical, Renaissance, contemporary), including how they understand and manipulate genres, and so raises the possibility of a more unitive view of history, culture, and time. Ben Jonson, with his coherent theoretical view of imitatio, was a crucial poet for Thom Gunn, who self-consciously imitated

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28

Gants, David. "“MDCXVI”." Ben Jonson Journal 25, no. 1 (2018): 4–18. http://dx.doi.org/10.3366/bjj.2018.0207.

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This article examines the legacy of Ben Jonson's folio Workes of 1616, in particular the attention that has been paid to the volume's material instantiation. It discusses some of the bibliographical features that distinguish it from the better-known Shakespeare First Folio as well as some aspects of its printing history. It then looks at how changes in graduate training over the past forty years have affected scholarly approaches to editing and book history. Next, it looks at how three scholarly editions have incorporated important material and design characteristics of the Workes into their c

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29

Penuel, Suzanne. "Every Man in His Humour and the Fathers of Ben." Ben Jonson Journal 23, no. 2 (2016): 212–30. http://dx.doi.org/10.3366/bjj.2016.0165.

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In Every Man in His Humour, Edward Kno'well fils clashes with Edward Kno'well père, who wants his son to occupy himself with something other than poetry. In the father-son pair's vexed relationship with each other and with literature, Every Man In figures Jonson as an author who knows himself to be a developed, powerful literary adult, but who won't accept that identity. His role as a literary child of the Romans, imitative and grateful, has propelled him into it. Every Man In's two versions, a 1598 Quarto set in Italy and a 1616 Folio version set in England, also indicate mixed feelings about

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30

Iyengar, S. "COMPLICATING JONSON * Ben Jonson: A Life. By IAN DONALDSON." Essays in Criticism 63, no. 4 (2013): 485–94. http://dx.doi.org/10.1093/escrit/cgt023.

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31

Hutson, Lorna. "Civility and Virility in Ben Jonson." Representations 78, no. 1 (2002): 1–27. http://dx.doi.org/10.1525/rep.2002.78.1.1.

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THE EUROPEAN RENAISSANCE SAW the rise of a phenomenon known as ''civil conversation,'' according to which the arena of informal speech became significant for men's social advancement. At the same time, however, Renaissance literature inherited from the classics an evaluative language that denounced loquacity as effeminate. Hutson's article uses Ben Jonson's writings to explore the tension between the prescriptions of ''virile style'' and the social reality for men of ''civil conversation.'' The tension manifests itself, she argues, in the expanded sense of personal liability inherent in the no

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32

Jacobs and White. "Ben Jonson on Shakespeare's Chaucer." Chaucer Review 50, no. 1-2 (2015): 198. http://dx.doi.org/10.5325/chaucerrev.50.1-2.0198.

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33

Woods, Susanne. "Aemilia Lanyer and Ben Jonson." Ben Jonson Journal 1, no. 1 (1994): 15–30. http://dx.doi.org/10.3366/bjj.1994.1.1.3.

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34

Magaw, Katie J. "Modern Books on Ben Jonson." Ben Jonson Journal 5, no. 1 (1998): 201–47. http://dx.doi.org/10.3366/bjj.1998.5.1.11.

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35

Darby, Clint. "Modern Books on Ben Jonson." Ben Jonson Journal 6, no. 1 (1999): 261–75. http://dx.doi.org/10.3366/bjj.1999.6.1.14.

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36

Egan, Gabriel. "The Ben Jonson Journal Forum." Ben Jonson Journal 8, no. 1 (2001): xi—xii. http://dx.doi.org/10.3366/bjj.2001.8.1.4.

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37

Maxwell, Julie. "Ben Jonson Among the Vicars." Ben Jonson Journal 9, no. 1 (2002): 37–68. http://dx.doi.org/10.3366/bjj.2002.9.1.5.

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38

Harp, Richard, and A. W. Johnson. "Ben Jonson: Poetry and Architecture." Sixteenth Century Journal 27, no. 1 (1996): 244. http://dx.doi.org/10.2307/2544334.

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39

Busse, Claire M., and Joseph Loewenstein. "Ben Jonson and Possessive Authorship." Sixteenth Century Journal 34, no. 4 (2003): 1152. http://dx.doi.org/10.2307/20061675.

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40

ECCLES, MARK. "BEN JONSON, ‘CITIZEN AND BRICKLAYER’." Notes and Queries 35, no. 4 (1988): 445–46. http://dx.doi.org/10.1093/nq/35-4-445.

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41

Steggle, Matthew. "Charles Chester and Ben Jonson." SEL Studies in English Literature 1500-1900 39, no. 2 (1999): 313–26. http://dx.doi.org/10.1353/sel.1999.0020.

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42

Boehrer, Bruce Thomas. "Ben Jonson at Table - Reply." Publications of the Modern Language Association of America 106, no. 2 (1991): 319. http://dx.doi.org/10.1632/s0030812900176850.

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43

Steggle, Matthew. "Charles Chester and Ben Jonson." Studies in English Literature, 1500-1900 39, no. 2 (1999): 313. http://dx.doi.org/10.2307/1556168.

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44

Hadfield, A. "Ben Jonson and Philip Sidney." Notes and Queries 56, no. 1 (2009): 85–86. http://dx.doi.org/10.1093/notesj/gjn228.

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45

Sullivan, C. "'Ben Jonson and Hugh Broughton'." Notes and Queries 59, no. 4 (2012): 571. http://dx.doi.org/10.1093/notesj/gjs186.

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46

Giddens, Eugene. "Recent Research on Ben Jonson." Shakespeare 12, no. 4 (2016): 473–85. http://dx.doi.org/10.1080/17450918.2016.1211732.

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47

Leggatt, Alexander. "Review: Book: Ben Jonson, Dramatist." Cahiers Élisabéthains: A Journal of English Renaissance Studies 27, no. 1 (1985): 99–101. http://dx.doi.org/10.1177/018476788502700115.

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48

Mansky, Joseph. "“Look No More”: Jonson's Catiline and the Politics of Enargeia." PMLA/Publications of the Modern Language Association of America 134, no. 2 (2019): 332–50. http://dx.doi.org/10.1632/pmla.2019.134.2.332.

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In his play Catiline His Conspiracy, Ben Jonson allegorizes Cicero's fight to save the Roman Republic as a battle against the kind of spectacular drama that, Jonson claimed, his audiences so enjoyed. This metatheatrical polemic hinges on the rhetorical technique of enargeia: the power of language to conjure an image. For the early moderns, enargeia resolved the “paradox of representation”—the contradiction between “making present” and “standing for”—by subordinating visual presence to verbal illusionism. Jonson, aligning neoclassical poetics with humanist historiography, dramatizes this hierar

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49

Hwang, In-Tae. "Ben Jonson’s English Grammar (1640) Revisited." Modern Studies in English Language & Literature 65, no. 1 (2021): 191–210. http://dx.doi.org/10.17754/mesk.65.1.191.

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50

Baker, Christopher, Richard Harp, and Stanley Stewart. "The Cambridge Companion to Ben Jonson." Sixteenth Century Journal 33, no. 4 (2002): 1110. http://dx.doi.org/10.2307/4144145.

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