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Journal articles on the topic 'Jonson, Ben, Humanism in literature'

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Published: 4 June 2021

Last updated: 9 February 2022

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1

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 hierarchy of representation. In Catiline, Cicero's rhetoric puts visions of violence before his audience's eyes only to prevent their realization onstage. The play thus seeks to exorcise the specter of political violence that haunted early modern England and the Roman Republic alike. Yet the rhetoric of Jonson's Cicero proves just as coercive as the spectacular violence that it has replaced. From Jonson's time to ours, separating rhetoric from violence has remained the challenge of republicanism.

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2

Im, Yeeyon. "Beyond the Gender Divide: Looking for Shakespeare in Han Tae-Sook’s Lady Macbeth." New Theatre Quarterly 32, no. 1 (2016): 19–30. http://dx.doi.org/10.1017/s0266464x15000834.

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Han Tae-Sook’s Lady Macbeth, a theatre adaptation by a leading woman director in Korea, has been interpreted largely from a feminist and intercultural perspective. In this article Yeeyon Im examines a body of criticism on Han’s production to raise awareness of the danger of totalization in current critical geography in Korea, which may marginalize non-ideological views. The humanist issues of evil, desire, and guilt, which are explicit themes of Lady Macbeth, have been neglected by critics in favour of discourses of difference. Yeeyon Im asks if ‘the subaltern can speak’ of universality, and calls for a new literary humanism that allows reflection on how to live through the help of literature. Yeeyon Im is Associate Professor of English at Yeungnam University in South Korea, where she teaches Shakespeare and drama. She has published widely on Shakespeare and modern drama. Her articles on intercultural Shakespeare productions of Lee Yountaek and Ninagawa Yukio have appeared in Theatre Journal, Shakespeare, and Shakespeare Bulletin. She has also translated into Korean plays by Ben Jonson (Volpone and The Alchemist) and Christopher Marlowe (Dido, Queen of Carthage).

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3

Ha, Sha. "Plague and Literature in Western Europe, from Giovanni Boccaccio to Albert Camus." International Journal of Comparative Literature and Translation Studies 9, no. 3 (2021): 1. http://dx.doi.org/10.7575/aiac.ijclts.v.9n.3p.1.

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In medieval times the plague hit Europe between 1330 and 1350. The Italian novelist Giovanni Boccaccio, one of the exponents of the cultural movement of Humanism, in the introduction (proem) of his “Decameron” described the devastating effects of the ‘black plague’ on the inhabitants of the city of Florence. The pestilence returned to Western Europe in several waves, between the 16th and 17th centuries. William Shakespeare in “Romeo and Juliet” and other tragedies, and Ben Jonson in “The Alchemist” made several references to the plague, but they did not offer any realistic description of that infective disease. Some decennials later Daniel Defoe, in his “A Journal of the Plague Year” (1719), gave a detailed report about the ‘Great Plague’ which hit England in 1660, based on documents of the epoch. In more recent times, Thomas S. Eliot, composing his poem “The Waste Land” was undoubtedly influenced by the spreading of another infective disease, the so-called “Spanish flu”, which affected him and his wife in December 1918. Some decennials later, the French writer and philosopher Albert Camus, in his novel “The Plague”, symbolized with a plague epidemic the war which devastated Europe, North Africa and the Far East from 1937 to 1945, extolling a death toll of over 50 million victims. Those literary works offered a sort of solace to the lovers of literature. To recall them is the purpose of the present paper, in these years afflicted by the spreading of the Covid-19 Pandemic.

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4

Bednarz, James P. "“Of things as yet unborne”: The Poetics of Fantasy in John Marston's What You Will." Ben Jonson Journal 25, no. 1 (2018): 119–32. http://dx.doi.org/10.3366/bjj.2018.0213.

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The Romantic period has been identified as the paradigmatic moment of transformation in western culture when the mimetic and didactic theories of literature typically favored by classical and Renaissance theoreticians were decisively challenged for preeminence by emotive and expressive models of creativity. But as M.H. Abrams observes in The Mirror and the Lamp, this intellectual revolution, through which psychology displaced rhetoric as the predominant mode of critical evaluation was not unprecedented. This essay examines an early modern example of this phenomenon in John Marston's What You Will, a play, probably written in 1601 for the Children of Paul's, which represents a kind of Renaissance romanticism insofar as it displaces what Marston calls the “rules of Art” with an extra-rational source of human creativity, the psychological faculty of “fantasy” or “imagination.” Here, Marston proposes an explicitly physiological framework for understanding the psychology of creativity that rejects the principal tenets of conventional humanist theory advocated by Ben Jonson in Cynthia's Revels. In What You Will, at the height of the Poets' War, in a radical shift of perspective, Marston unexpectedly extols the pleasure of imagination's spontaneous generative power. This is, in a parallel previously unnoticed by scholars, the same power of “Phantasie” that he invokes in supplementing the “metaphysical” wit of William Shakespeare's mysterious elegy “The Phoenix and Turtle” in the contemporaneous Diverse Poetical Essays of Love's Martyr.

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5

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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6

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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7

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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8

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

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9

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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10

Koslow, Julian. "Humanist Schooling and Ben Jonson's Poetaster." ELH 73, no. 1 (2006): 119–59. http://dx.doi.org/10.1353/elh.2006.0005.

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11

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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12

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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13

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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14

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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15

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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16

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 creative imitatio of Lucian's fantastic moon voyages (A True Story and Icaromenippus) in his much neglected News from the New World Discovered in the Moon. And, likewise, Jonson reworks Lucian extensively for the action of Poetaster: The Carousal supplies the lascivious banquet of 4.5, and Lexiphanes, the humiliating purge of Crispinus. Jonson's rich engagement with Lucian comes to a climax in Volpone, which borrows directly from The Dream, and several Dialogues of the Dead. Here whimsical ancient satire enables stern moral allegory. Responding to Poetaster in Satiro-mastix, Thomas Dekker has Captain Tucca rebuke Horace (i.e. Ben Jonson) by sarcastically calling him “Lucian.” Jonson, no doubt, took the proffered insult as the highest compliment.

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17

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 trahison et à la persécution. Le Catholicisme offrait à Jonson un cercle d’amis, des traditions d’érudition et de cérémonie, une esthétique de la beauté et de l’image et une gamme de croyances et pratiques dévotionnelles.

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18

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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19

McPherson, D. "Ben Jonson: His Life and Work." Modern Language Quarterly 48, no. 2 (1987): 188–90. http://dx.doi.org/10.1215/00267929-48-2-188.

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20

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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21

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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22

Muggli, Mark Z. "Ben Jonson and the Business of News." Studies in English Literature, 1500-1900 32, no. 2 (1992): 323. http://dx.doi.org/10.2307/450739.

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23

Comeford, Ami. "Recent Ben Jonson Theatrical Events and Productions." Ben Jonson Journal 14, no. 2 (2007): 218–32. http://dx.doi.org/10.3366/bjj.2007.14.2.218.

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24

Boyles, David. "Recent Ben Jonson Theatrical Events and Productions." Ben Jonson Journal 17, no. 2 (2010): 259–65. http://dx.doi.org/10.3366/bjj.2010.0109.

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25

Butler, Martin. "Risks and Rewards: Ben Jonson at Court." Cambridge Quarterly XX, no. 2 (1991): 155–60. http://dx.doi.org/10.1093/camqtly/xx.2.155.

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26

Ahn, Joyce. "2019 Scholarship on Ben Jonson: An Overview." Ben Jonson Journal 28, no. 1 (2021): 95–124. http://dx.doi.org/10.3366/bjj.2021.0302.

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27

Kay, W. David, Ben Jonson, Richard Dutton, and Anne Barton. "Ben Jonson: To the First Folio." Theatre Journal 37, no. 3 (1985): 385. http://dx.doi.org/10.2307/3206872.

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28

Arnold, Judd, Ben Jonson, Johanna Procter, and Martin Butler. "The Selected Plays of Ben Jonson." Theatre Journal 42, no. 4 (1990): 511. http://dx.doi.org/10.2307/3207735.

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29

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 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.

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30

Chen, Weibin. "Ben Jonson, China, and the cosmopolitan." Renaissance Studies 34, no. 3 (2019): 465–81. http://dx.doi.org/10.1111/rest.12635.

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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 notion of informal speech as a significant site of advancement in the age of ''note-taking'' and the commonplace book. She shows how the note-taking habit blurs the line between circulating speech for aesthetic purposes and for purposes of espionage. She discusses certain pervasive classical figures and ideas - such as the ''mindful drinking companion'' and the Plutarchan idea of internalizing and preempting hostile judgments of one's words by imagining oneself as one's own enemy. She notes that Jonson reworks these figures and ideas to produce a heroic notion of a ''civil conversationalist'' who is also ''virile'' in that he can resist being effeminized bythe circulation of hostile or ignorant interpretations of his words; he can resist, in other words, being transformed into the feminine figure of Rumor. The article concludes with a reading of Jonson's Every Man in His Humour as a play concerned to articulate a new, heroic ''civil virility'' as the ability to resist hostile constructions of informal speech.

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32

Burdett, John, and Jonathan Wright. "Ben Jonson in Recent General Scholarship, 1972–1996." Ben Jonson Journal 4, no. 1 (1997): 151–79. http://dx.doi.org/10.3366/bjj.1997.4.1.11.

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33

Smith, Nigel. "Andrew Marvell and Ben Jonson: Personality and Prosody." Ben Jonson Journal 20, no. 2 (2013): 157–78. http://dx.doi.org/10.3366/bjj.2013.0079.

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34

Rhodes, Neil. "Tom Lockwood's Ben Jonson in the Romantic Age." Romanticism 12, no. 3 (2006): 278–79. http://dx.doi.org/10.3366/rom.2006.12.3.278.

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35

BROOKS, DOUGLAS A. "Recent Studies in Ben Jonson (1991 – mid‐2001)." English Literary Renaissance 33, no. 1 (2003): 110–52. http://dx.doi.org/10.1111/1475-6757.00022_2.

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36

Donovan, Kevin J. "Recent Studies in Ben Jonson (mid‐2001–2012)." English Literary Renaissance 44, no. 3 (2014): 524–74. http://dx.doi.org/10.1111/1475-6757.12036.

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37

Kay, W. David, and Martin Butler. "Re-Presenting Ben Jonson: Text, History, Performance." Modern Language Review 96, no. 1 (2001): 161. http://dx.doi.org/10.2307/3735738.

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38

Kay, W. David, and William W. E. Slights. "Ben Jonson and the Art of Secrecy." Modern Language Review 91, no. 4 (1996): 969. http://dx.doi.org/10.2307/3733540.

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39

Butler, M. "The Making of the Oxford Ben Jonson." Review of English Studies 62, no. 257 (2011): 738–57. http://dx.doi.org/10.1093/res/hgr003.

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40

Honan, Park. "Review: Book: Ben Jonson: His Life and Work." Cahiers Élisabéthains: A Journal of English Renaissance Studies 32, no. 1 (1987): 132–33. http://dx.doi.org/10.1177/018476788703200136.

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41

Summers, Claude J., and Robert C. Evans. "Ben Jonson and the Poetics of Patronage." South Central Review 8, no. 1 (1991): 72. http://dx.doi.org/10.2307/3189301.

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42

Christensen, Ann C. "Reconsidering Ben Jonson and the "Centered Self"." South Central Review 13, no. 1 (1996): 1. http://dx.doi.org/10.2307/3189910.

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43

Gregory, J. "LYNN S. MESKILL, Ben Jonson and Envy." Notes and Queries 58, no. 2 (2011): 312–13. http://dx.doi.org/10.1093/notesj/gjr019.

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44

Gregory, J. "JULIE SANDERS (ed.), Ben Jonson in Context." Notes and Queries 58, no. 2 (2011): 311–12. http://dx.doi.org/10.1093/notesj/gjr026.

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45

Hui, Isaac. "Translation in Ben Jonson: Towards a Definition of Imitation." Ben Jonson Journal 20, no. 2 (2013): 223–40. http://dx.doi.org/10.3366/bjj.2013.0082.

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46

Kelly, Joseph L. "A Review of Sejanus his Fall by Ben Jonson." Ben Jonson Journal 24, no. 1 (2017): 145–50. http://dx.doi.org/10.3366/bjj.2017.0184.

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47

Brady, J. "Collaborating with the Forebear: Dryden's Reception of Ben Jonson." Modern Language Quarterly 54, no. 3 (1993): 345–69. http://dx.doi.org/10.1215/00267929-54-3-345.

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48

Slights (book author), William W. E., and C. E. McGee (review author). "Ben Jonson and the Art of Secrecy." Renaissance and Reformation 32, no. 4 (2009): 77–78. http://dx.doi.org/10.33137/rr.v32i4.11594.

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49

Boehrer, Bruce Thomas. "Renaissance Overeating: The Sad Case of Ben Jonson." PMLA 105, no. 5 (1990): 1071. http://dx.doi.org/10.2307/462735.

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50

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 the mode of imitation, producing in “An Invitation” a re-creation of the country-house poem as embodied by Jonson's “To Sir Robert Wroth” and in “Lament” (his great AIDS elegy) a response to seventeenth-century funeral elegy, in particular Jonson's “Elegie on the Lady Jane Pawlet.”

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