Ben Jonson - Knowledge

426: 53: 1587: 411: 1666: 1610:"Epigrams" (published in the 1616 folio) is an entry in a genre that was popular among late-Elizabethan and Jacobean audiences, although Jonson was perhaps the only poet of his time to work in its full classical range. The epigrams explore various attitudes, most from the satiric stock of the day: complaints against women, courtiers and spies abound. The condemnatory poems are short and anonymous; Jonson's epigrams of praise, including a famous poem to Camden and lines to Lucy Harington, are longer and are mostly addressed to specific individuals. Although it is included among the epigrams, " 4678: 4664: 1749:, did a good deal to create the traditional view of Shakespeare as a poet who, despite "small Latine, and lesse Greeke", had a natural genius. The poem has traditionally been thought to exemplify the contrast which Jonson perceived between himself, the disciplined and erudite classicist, scornful of ignorance and sceptical of the masses, and Shakespeare, represented in the poem as a kind of natural wonder whose genius was not subject to any rules except those of the audiences for which he wrote. But the poem itself qualifies this view: 1999:. Jonson's works, particularly his masques and pageants, offer significant information regarding the relations of literary production and political power, as do his contacts with and poems for aristocratic patrons; moreover, his career at the centre of London's emerging literary world has been seen as exemplifying the development of a fully commodified literary culture. In this respect he is seen as a transitional figure, an author whose skills and ambition led him to a leading role both in the declining culture of 926: 207: 4556: 1362: 314: 4575: 1712:, which was published posthumously and reflects his lifetime of practical experience, Jonson offers a fuller and more conciliatory comment. He recalls being told by certain actors that Shakespeare never blotted (i.e., crossed out) a line when he wrote. His own claimed response was "Would he had blotted a thousand!" However, Jonson explains, "Hee was (indeed) honest, and of an open, and free nature: had an excellent 1435:, present somewhat looser plots and less-developed characters than those written later, for adult companies. Already in the plays which were his salvos in the Poets' War, he displays the keen eye for absurdity and hypocrisy that marks his best-known plays; in these early efforts, however, the plot mostly takes second place to a variety of incident and comic set-pieces. They are, also, notably ill-tempered. 1008:, and was treated to lavish and enthusiastic welcomes in both towns and country houses. On his arrival he lodged initially with John Stuart, a cousin of King James, in Leith, and was made an honorary burgess of Edinburgh at a dinner laid on by the city on 26 September. He stayed in Scotland until late January 1619, and the best-remembered hospitality he enjoyed was that of the Scottish poet, 1016:. 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. Jonson delivers his opinions, in Drummond's terse reporting, in an expansive and even magisterial mood. Drummond noted he was "a great lover and praiser of himself, a contemner and scorner of others". 3586: 1959:, who were in some senses "discoveries" of the 19th century. Moreover, the emphasis which the romantic writers placed on imagination, and their concomitant tendency to distrust studied art, lowered Jonson's status, if it also sharpened their awareness of the difference traditionally noted between Jonson and Shakespeare. This trend was by no means universal, however; 913:, a politically themed play about corruption in the Roman Empire. He was again in trouble for topical allusions in a play, now lost, in which he took part. 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 827:, subtitled "the untrussing of the humorous poet". The final scene of this play, while 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. 1951:

observe what was open to, and likely to impress, the senses." Coleridge placed Jonson second only to Shakespeare; other romantic critics were less approving. The early 19th century was the great age for recovering Renaissance drama. Jonson, whose reputation had survived, appears to have been less interesting to some readers than writers such as

1780:. By 1700, Jonson's status began to decline. In the Romantic era, Jonson suffered the fate of being unfairly compared and contrasted to Shakespeare, as the taste for Jonson's type of satirical comedy decreased. Jonson was at times greatly appreciated by the Romantics, but overall he was denigrated for not writing in a Shakespearean vein. 1726:; Fuller imagines conversations in which Shakespeare would run rings around the more learned but more ponderous Jonson. That the two men knew each other personally is beyond doubt, not only because of the tone of Jonson's references to him but because Shakespeare's company produced a number of Jonson's plays, at least two of which ( 1157:, was among those who might hope to rise to influence after the succession of a new monarch. Jonson's conversion came at a weighty time in affairs of state; the royal succession, from the childless Elizabeth, had not been settled and Essex's Catholic allies were hopeful that a sympathetic ruler might attain the throne. 1811:'s, formed the initial core of the Restoration repertory. It was not until after 1710 that Shakespeare's plays (ordinarily in heavily revised forms) were more frequently performed than those of his Renaissance contemporaries. Many critics since the 18th century have ranked Jonson below only Shakespeare among 2724:

Language most shows a man: Speak, that I may see thee. It springs out of the most retired and inmost parts of us, and is the image of the parent of it, the mind. No glass renders a man’s form or likeness so true as his speech. Nay, it is likened to a man; and as we consider feature and composition in

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to Shakespeare's intercession, likewise attributed Jonson's excellence to learning, which did not raise him quite to the level of genius. A consensus formed: Jonson was the first English poet to understand classical precepts with any accuracy, and he was the first to apply those precepts successfully

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noted, the unity of action in the major comedies was rather compromised by Jonson's abundance of incident. To this classical model, Jonson applied the two features of his style which save his classical imitations from mere pedantry: the vividness with which he depicted the lives of his characters and

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who took their bearing in verse from Jonson, rose to prominence. However, a series of setbacks drained his strength and damaged his reputation. He resumed writing regular plays in the 1620s, but these are not considered among his best. They are of significant interest, however, for their portrayal of

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was assassinated, purportedly in the name of the Pope; he had been a Catholic monarch respected in England for tolerance towards Protestants, and his murder seems to have been the immediate cause of Jonson's decision to rejoin the Church of England. He did this in flamboyant style, pointedly drinking

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Notwithstanding this emphatically Protestant grounding, Jonson maintained an interest in Catholic doctrine throughout his adult life and, at a particularly perilous time while a religious war with Spain was widely expected and persecution of Catholics was intensifying, he converted to the faith. This

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revolution in criticism brought about an overall decline in the critical estimation of Jonson. Hazlitt refers dismissively to Jonson's "laborious caution." Coleridge, while more respectful, describes Jonson as psychologically superficial: "He was a very accurately observing man; but he cared only to

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is exceptional in that he noted the tendency to exaggeration in these competing critical portraits: "It is ever the nature of Parties to be in extremes; and nothing is so probable, as that because Ben Jonson had much the most learning, it was said on the one hand that Shakespear had none at all; and

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named him the best and most polished English poet. That this judgment was widely shared is indicated by the admitted influence he had on younger poets. The grounds for describing Jonson as the "father" of cavalier poets are clear: many of the cavalier poets described themselves as his "sons" or his

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The proliferation of new critical perspectives after mid-century touched on Jonson inconsistently. Jonas Barish was the leading figure among critics who appreciated Jonson's artistry. On the other hand, Jonson received less attention from the new critics than did some other playwrights and his work

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described meetings at "the Sun, the Dog, the Triple Tunne". All of them, including those like Herrick whose accomplishments in verse are generally regarded as superior to Jonson's, took inspiration from Jonson's revival of classical forms and themes, his subtle melodies, and his disciplined use of

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Some view this elegy as a conventional exercise, but others see it as a heartfelt tribute to the "Sweet Swan of Avon", the "Soul of the Age!" It has been argued that Jonson helped to edit the First Folio, and he may have been inspired to write this poem by reading his fellow playwright's works, a

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offered an almost unqualified rejection of Jonson as a dramatic poet, who (he writes) "has very poor pretensions to the high place he holds among the English Bards, as there is no original manner to distinguish him and the tedious sameness visible in his plots indicates a defect of Genius." The

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The principal factor in Jonson's partial eclipse was, however, the death of James and the accession of King Charles I in 1625. Jonson felt neglected by the new court. A decisive quarrel with Jones harmed his career as a writer of court masques, although he continued to entertain the court on an

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The best of Jonson's lyrics have remained current since his time; periodically, they experience a brief vogue, as after the publication of Peter Whalley's edition of 1756. Jonson's poetry continues to interest scholars for the light which it sheds on English literary history, such as politics,

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attempted to repudiate the charge that Jonson was an arid classicist by analysing the role of imagination in his dialogue. Eliot was appreciative of Jonson's overall conception and his "surface", a view consonant with the modernist reaction against Romantic criticism, which tended to denigrate

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Jonson was a towering literary figure, and his influence was enormous for he has been described as "One of the most vigorous minds that ever added to the strength of English literature". Before the English Civil War, the "Tribe of Ben" touted his importance, and during the Restoration Jonson's

1716:; brave notions and gentle expressions: wherein hee flow'd with that facility, that sometime it was necessary he should be stopp'd". Jonson concludes that "there was ever more in him to be praised than to be pardoned." When Shakespeare died, he said, "He was not of an age, but for all time." 1983:

playwrights who did not concentrate on representations of psychological depth. Around mid-century, a number of critics and scholars followed Eliot's lead, producing detailed studies of Jonson's verbal style. At the same time, study of Elizabethan themes and conventions, such as those by

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contends that Davenant's wording represented no more than Young's coinage, cheaply re-used. The fact that Jonson was buried in an upright position was an indication of his reduced circumstances at the time of his death, although it has also been written that he asked for a grave exactly

1473:, is markedly similar to Shakespeare's romantic comedies in its foreign setting, emphasis on genial wit and love-plot. 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. 1113:'s accession, he had been freed and had been able to travel to London to become a clergyman. (All that is known of Jonson's father, who died a month before his son was born, comes from the poet's own narrative.) Jonson's elementary education was in a small church school attached to 1160:

Conviction, and certainly not expedience alone, sustained Jonson's faith during the troublesome twelve years he remained a Catholic. His stance received attention beyond the low-level intolerance to which most followers of that faith were exposed. The first draft of his play

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Jonson's poetry, like his drama, is informed by his classical learning. Some of his better-known poems are close translations of Greek or Roman models; all display the careful attention to form and style that often came naturally to those trained in classics in the

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form, with which it shares some features. A few other so-called epigrams share this quality. Jonson's poems of "The Forest" also appeared in the first folio. Most of the fifteen poems are addressed to Jonson's aristocratic supporters, but the most famous are his

986:, eldest son of James I, appeared in the title role. Perhaps partly as a result of this new career, Jonson gave up writing plays for the public theatres for a decade. He later told Drummond that he had made less than two hundred pounds on all his plays together. 1883:, writing in defence of female playwrights, had pointed to Jonson as a writer whose learning did not make him popular; unsurprisingly, she compares him unfavourably to Shakespeare. Particularly in the tragedies, with their lengthy speeches abstracted from 1971:, wrote, "The flowers of his growing have every quality but one which belongs to the rarest and finest among flowers: they have colour, form, variety, fertility, vigour: the one thing they want is fragrance" – by "fragrance," Swinburne means spontaneity. 1822:

For some critics, the temptation to contrast Jonson (representing art or craft) with Shakespeare (representing nature, or untutored genius) has seemed natural; Jonson himself may be said to have initiated this interpretation in the second folio, and

1531:: he promises to represent "deeds, and language, such as men do use". He planned to write comedies that revived the classical premises of Elizabethan dramatic theory—or rather, since all but the loosest English comedies could claim some descent from 458:

device used by the Johnston family. His ancestors spelt the family name with a letter "t" (Johnstone or Johnstoun). While the spelling had eventually changed to the more common "Johnson", the playwright's own particular preference became "Jonson".

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satirical comedies and his theory and practice of "humour characters" (which are often misunderstood; see William Congreve's letters for clarification) was extremely influential, providing the blueprint for many Restoration comedies.

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Jonson described his wife to William Drummond as "a shrew, yet honest". The identity of Jonson's wife is obscure, though she sometimes is identified as "Ann Lewis", the woman who married a Benjamin Jonson in 1594, at the church of

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because Shakespear had much the most wit and fancy, it was retorted on the other, that Jonson wanted both." For the most part, the 18th century consensus remained committed to the division that Pope doubted; as late as the 1750s,

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to demonstrate his renunciation of the Catholic rite, in which the priest alone drinks the wine. The exact date of the ceremony is unknown. However, his interest in Catholic belief and practice remained with him until his death.

1614:" is neither satirical nor very short; the poem, intensely personal and deeply felt, typifies a genre that would come to be called "lyric poetry." It is possible that the spelling of 'son' as 'Sonne' is meant to allude to the 1305:, Jonson died on 18 August 1637 (O.S. 6 August). He died in London. His funeral was held the next day. It was attended by "all or the greatest part of the nobility then in town". He is buried in the north aisle of the nave in 2011:

Jonson has been called "the first poet laureate". If Jonson's reputation as a playwright has traditionally been linked to Shakespeare, his reputation as a poet has, since the early 20th century, been linked to that of

2053:. Popular Culture - His "Queen and Huntress" was used, in slightly amended form, by Mike Oldfield on side 4 of his multi Album set, Incantations.The lyrics can be found on his website, confirming its the same poem. 52: 437:

Jonson was born in June 1572—possibly on the 11th—in or near London. In midlife, Jonson said his paternal grandfather, who "served King Henry 8 and was a gentleman", was a member of the extended Johnston family of

1858:: the former represented profound creativity, the latter polished artifice. But "artifice" was in the 17th century almost synonymous with "art"; Jonson, for instance, used "artificer" as a synonym for "artist" ( 1195:) he escaped the more serious penalties at the authorities' disposal. His habit was to slip outside during the sacrament, a common routine at the time—indeed it was one followed by the royal consort, Queen 2057:

systems of patronage and intellectual attitudes. For the general reader, Jonson's reputation rests on a few lyrics that, though brief, are surpassed for grace and precision by very few Renaissance poems: "

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have noted there appear to be passages that Shakespeare wrote and then changed. When printed, the printers did not properly sort the original from the final version of such passages, so traces remain of

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have in modern times achieved a certain degree of recognition. While his life during this period was apparently more settled than it had been in the 1590s, his financial security was still not assured.

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and the Privy Council. Father Thomas Wright, who heard Fawkes's confession, was known to Jonson from prison in 1598 and Cecil may have directed him to bring the priest before the council, as a witness.

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In the 20th century, Jonson's body of work has been subject to a more varied set of analyses, broadly consistent with the interests and programmes of modern literary criticism. In an essay printed in

1431:, that largely failed to impress Renaissance audiences, Jonson's work for the public theatres was in comedy. These plays vary in some respects. The minor early plays, particularly those written for 4004: 1914:

Though his stature declined during the 18th century, Jonson was still read and commented on throughout the century, generally in the kind of comparative and dismissive terms just described.

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After his military activity on the Continent, Jonson returned to England and worked as an actor and as a playwright. As an actor, he was the protagonist "Hieronimo" (Geronimo) in the play

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that Catholicism could offer if he were sentenced to death. Alternatively, he could have been looking to personal advantage from accepting conversion since Father Wright's protector, the

997:. This sign of royal favour may have encouraged him to publish the first volume of the folio-collected edition of his works that year. Other volumes followed in 1640–41 and 1692. (See: 1547:. He set his plays in contemporary settings, peopled them with recognisable types, and set them to actions that, if not strictly realistic, involved everyday motives such as greed and 1032:

The period between 1605 and 1620 may be viewed as Jonson's heyday. By 1616 he had produced all the plays on which his present reputation as a dramatist is based, including the tragedy

5096: 1259:, for example, offers a remarkable look at the earliest stage of English journalism. The lukewarm reception given that play was, however, nothing compared to the dismal failure of 1080:, 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). Yet 292:

with an appetite for controversy (personal and political, artistic and intellectual) whose cultural influence was of unparalleled breadth upon the playwrights and the poets of the

6177: 520:, to continue his book learning. However, because of his unwilled apprenticeship to his bricklayer stepfather, he returned after a month. According to the churchman and historian 1344:. It includes a portrait medallion and the same inscription as on the gravestone. It seems Jonson was to have had a monument erected by subscription soon after his death but the 1277:

irregular basis. For his part, Charles displayed a certain degree of care for the great poet of his father's day: he increased Jonson's annual pension to £100 and included a

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in the early 1770s no doubt bolstered a widespread sense that Jonson had at last grown too antiquated for the contemporary public; if he still attracted enthusiasts such as

1543:, Jonson eschewed distant locations, noble characters, romantic plots and other staples of Elizabethan comedy, focusing instead on the satiric and realistic inheritance of 5033: 4963: 2348: 1738:) Shakespeare certainly acted in. However, it is now impossible to tell how much personal communication they had, and tales of their friendship cannot be substantiated. 2598: 1819:, and in his scattered prefaces and dedications: the realism and propriety of his language, the bite of his satire, and the care with which he plotted his comedies. 1741:

Jonson's most influential and revealing commentary on Shakespeare is the second of the two poems that he contributed to the prefatory verse that opens Shakespeare's

1641: 1149:, was permitted to minister to the inmates of London prisons. It may have been that Jonson, fearing that his trial would go against him, was seeking the unequivocal 497:(1551–1623) was one of his masters. The pupil and master became friends, and the intellectual influence of Camden's broad-ranging scholarship upon Jonson's art and 6107: 6097: 3615: 425: 226:

6 August] 1637) was an English playwright and poet. Jonson's artistry exerted a lasting influence on English poetry and stage comedy. He popularised the

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Jonson, Ben, David M. Bevington, Martin Butler, and Ian Donaldson. 2012. The Cambridge edition of the works of Ben Jonson. Cambridge: Cambridge University Press.

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On 8 July 1618 Jonson set out from Bishopsgate in London to walk to Edinburgh, arriving in Scotland's capital on 17 September. For the most part he followed the

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record that Mary Jonson, their eldest daughter, died in November 1593, at six months of age. A decade later, in 1603, Benjamin Jonson, their eldest son, died of

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reports, on uncertain authority, that Jonson was not successful as an actor; whatever his skills as an actor, he was more valuable to the company as a writer.

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and others. The 1640 volume also contains three elegies which have often been ascribed to Donne (one of them appeared in Donne's posthumous collected poems).

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Within this general progression, however, Jonson's comic style remained constant and easily recognisable. He announces his programme in the prologue to the

3995: 3018: 2792:, Fletcher and Jonson, though scholars have been intensely sceptical about Jonson's presence in the play. A few attributions of anonymous plays, such as 917:

conspirators. After the plot's discovery, he appears to have avoided further imprisonment; he volunteered what he knew of the affair to the investigator

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Timber, or Discoveries made upon men and matter, as they have flowed out of his daily readings, or had their reflux to his peculiar notion of the times

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It has been pointed out that the inscription could be read "Orare Ben Jonson" (pray for Ben Jonson), possibly in an allusion to Jonson's acceptance of

1325:, Jonson's successor as Poet Laureate (and card-playing companion of Young), as the same phrase appears on Davenant's nearby gravestone, but essayist 6172: 1321:, saw the bare grave marker and on impulse paid a workman eighteen pence to make the inscription. Another theory suggests that the tribute came from 1963:, Jonson's first editor of the 19th century, did a great deal to defend Jonson's reputation during this period of general decline. In the next era, 1689:. William Drummond reports that during their conversation, Jonson scoffed at two apparent absurdities in Shakespeare's plays: a nonsensical line in 6162: 5513: 1284:

Despite the strokes that he suffered in the 1620s, Jonson continued to write. At his death in 1637 he seems to have been working on another play,

5089: 3346: 2512: 4629: 1179:, with Jonson alone additionally accused of allowing his fame as a Catholic to "seduce" citizens to the cause. This was a serious matter (the 5131: 5124: 2678: 2558: 2550: 1984: 567: 2890: 1551:. In accordance with the temper of his age, he was often so broad in his characterisation that many of his most famous scenes border on the 903:, and "scorns the world." Perhaps this explains why his trouble with English authorities continued. That same year he was questioned by the 5875: 6197: 1492:, with a London setting, themes of trickery and money, and a distinct moral ambiguity, despite Jonson's professed aim in the Prologue to 862:

in 1603 Jonson joined other poets and playwrights in welcoming the new king. Jonson quickly adapted himself to the additional demand for

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During that period, Jonson and his wife lived separate lives for five years; Jonson enjoyed the residential hospitality of his patrons,

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priest who had resigned from the order over his acceptance of Queen Elizabeth's right to rule in England. Wright, although placed under

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on the non-existent seacoast of Bohemia. Drummond also reported Jonson as saying that Shakespeare "wanted art" (i.e., lacked skill).

1109:" and had suffered imprisonment and the forfeiture of his wealth during that monarch's attempt to restore England to Catholicism. On 4595: 1337:

during his lifetime (although he had returned to the Church of England); the carving shows a distinct space between "O" and "rare".

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At first sight the words seem clear enough…but some…have believed that the words intended to say, in Latin, "Pray for Ben Jonson"…

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was not of programmatic interest to psychoanalytic critics. But Jonson's career eventually made him a focal point for the revived

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number of which had been previously either unpublished or available in less satisfactory versions, in a relatively complete form.

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for example), were to varying extents rediscovering Donne, this comparison often worked to the detriment of Jonson's reputation.

5166: 5040: 4657: 2448: 784:. It is not known whether this was a success on stage, but when published it proved popular and went through several editions. 1171:", and did not re-appear until some offending passages were cut. In January 1606 he (with Anne, his wife) appeared before the 6132: 5761: 4230: 4164: 4136: 4052: 3762: 3722: 3596: 3447: 3322: 3137: 2500:(6 January 1618; printed 1641) The masque was a failure; Jonson revised it by placing the anti-masque first, turning it into: 1607:. Accepting both rhyme and stress, Jonson used them to mimic the classical qualities of simplicity, restraint and precision. 1137:. Jonson's biographer Ian Donaldson is among those who suggest that the conversion was instigated by Father Thomas Wright, a 5377: 5152: 4736: 2582: 1023: 870:. In addition to his popularity on the public stage and in the royal hall, he enjoyed the patronage of aristocrats such as 3048: 6112: 6102: 5145: 5012: 4696: 2735:

As with other English Renaissance dramatists, a portion of Ben Jonson's literary output has not survived. In addition to

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A monument to Jonson was erected in about 1723 by the Earl of Oxford and is in the eastern aisle of Westminster Abbey's

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casually remarked on the way in which Jonson's learning worked, like Samson's strength, to his own detriment. Earlier,

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Jonson's other work for the theatre in the last years of Elizabeth I's reign was marked by fighting and controversy.

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to contemporary life. But there were also more negative spins on Jonson's learned art; for instance, in the 1750s,

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manner. Jonson largely avoided the debates about rhyme and meter that had consumed Elizabethan classicists such as

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was only because he had not found sound theological endorsement for the practice, and by paying a fine of thirteen

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Walker, Anita; Dickerman, Edmund (1995). "Mind of an Assassin: Ravaillac and the Murder of Henri IV of France".

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could put a brief recapitulation of this analysis in the mouth of a "man of sense" encountered by David Simple.

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Heads of a Conversation betwixt the Famous Poet Ben Johnson and William Drummond of Hawthornden, January 1619

2606: 2496: 2207: 2049:. In these respects, Jonson may be regarded as among the most important figures in the prehistory of English 1815:. Critical judgment has tended to emphasise the very qualities that Jonson himself lauds in his prefaces, in 1046: 223: 470:. Becoming a clergyman upon his release, he died a month before his son's birth. His widow married a master 364: 6157: 6016: 5232: 4942: 4646: 4201: 2323: 1233: 943: 32: 1835: 1639:, published in the expanded folio of 1640, is a larger and more heterogeneous group of poems. It contains 1199:, herself—to show political loyalty while not offending the conscience. Leading church figures, including 882:. This connection with the Sidney family provided the impetus for one of Jonson's most famous lyrics, the 6167: 6006: 5851: 5712: 5582: 5227: 4984: 4793: 4156: 3853: 2373: 2231: 2145: 1812: 1515: 1379: 1058: 900: 776: 669:

By this time Jonson had begun to write original plays for the Admiral's Men; in 1598 he was mentioned by

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While in jail Jonson converted to Catholicism, possibly through the influence of fellow-prisoner Father

740:), forfeiting his "goods and chattels" and being branded with the so-called Tyburn T on his left thumb. 696:, was suppressed after causing great offence. Arrest warrants for Jonson and Nashe were issued by Queen 6147: 5421: 1964: 1808: 1784: 1436: 962: 766: 716:

and Robert Shaw, were also imprisoned. A year later, Jonson was again briefly imprisoned, this time in

346: 5369: 4669: 4412: 4393: 3195: 1467:, are all sacrificed upon the altar of private resentment". Another early comedy in a different vein, 1290:. Though only two acts are extant, this represents a remarkable new direction for Jonson: a move into 505:, with whom he established an "enduring relationship". Both of them would write preliminary poems for 5110: 4128: 2761:(1599), with Chettle and Dekker. Several of Jonson's masques and entertainments also are not extant: 2534: 2182: 2127: 1919: 1867: 802: 17: 2720:

that he famously quipped on the manner in which language became a measure of the speaker or writer:

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18 inches square from the monarch and received an upright grave to fit in the requested space.

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Jonson's productivity began to decline in the 1620s, but he remained well-known. In that time, the

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as one of "the best for tragedy." None of his early tragedies survive, however. An undated comedy,

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strain of poetry, emphasising grace and clarity of expression; Donne, by contrast, epitomised the

1866:, too, Jonson "ow all his Excellence to his Art," in contrast to Shakespeare, the natural genius. 965:

as the consummate example of this now-extinct genre, which mingled speech, dancing and spectacle.

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to England in 1603 although Drummond reports that Jonson called Dekker a rogue. Marston dedicated

559:(1585–1649), report that, when in Flanders, Jonson engaged, fought and killed an enemy soldier in 410: 6044: 5930: 5768: 5677: 5082: 5047: 4949: 4856: 4849: 4786: 4779: 4480: 4312: 2900: 2895: 2737: 2504: 2456: 2332: 2223: 2137: 2103: 1728: 1527: 1372: 1334: 1273:, one of the "Tribe of Ben", to respond in a poem that asks Jonson to recognise his own decline. 1241: 1188: 1034: 949: 756: 692: 624: 604: 324: 261: 236: 4586: 4286:

The New Intellectuals: A Survey and Bibliography of Recent Studies in English Renaissance Drama.

3714: 3708: 2938: 2930: 1586: 5966: 4928: 4891: 4765: 3930: 3780: 3754: 3541: 3533: 2778: 2311: 2302: 2088: 1991:, provided a more vivid sense of how Jonson's work was shaped by the expectations of his time. 1665: 1326: 1110: 941:

At the same time, Jonson pursued a more prestigious career, writing masques for James's court.

866:

and entertainments introduced with the new reign and fostered by both the king and his consort

812: 794: 744: 1265:; the cold reception given this play prompted Jonson to write a poem condemning his audience ( 5982: 5893: 5827: 5782: 5568: 5461: 5401: 5258: 5061: 5054: 4653: 4580: 3838:

Rickard, Jane. "Jonson's Imaginary Library: "An Execration upon Vulcan" and Its Intertexts."

3809: 2472: 2464: 2041: 1804: 1539:, he intended to apply those premises with rigour. This commitment entailed negations: after 1237: 1200: 443: 4609: 3746: 3588:

Chase's Calendar of Events 2019: The Ultimate Go-to Guide for Special Days, Weeks and Months

1207:, were tasked with winning Jonson back to Protestantism, but these overtures were resisted. 850:, a 1605 play whose anti-Scottish sentiment briefly landed both Jonson and Chapman in jail. 501:

remained notable, until Camden's death in 1623. At Westminster School he met the Welsh poet

6122: 6092: 6087: 5920: 5858: 5698: 5621: 5117: 5103: 4977: 4970: 4842: 4642: 4349: 4146: 2725:

a man, so words in language; in the greatness, aptness, sound structure, and harmony of it.

2668: 2542: 2526: 2365: 2357: 2215: 1824: 1697: 1691: 1596: 1574: 1250: 1245: 1204: 1052: 807: 613: 602:, the leading producer for the English public theatre; by the next year, the production of 541: 255: 134: 4424:

Ben Jonson and Posterity: Reception, Reputation, Legacy (Cambridge University Press, 2022)

2776:

Finally, there are questionable or borderline attributions. Jonson may have had a hand in

1747:"To the Memory of My Beloved the Author, Mr. William Shakespeare and What He Hath Left Us" 8: 5865: 5754: 5684: 5596: 5441: 5357: 4863: 4800: 4772: 4722: 4592: 4336: 3667: 3090: 2794: 2650: 2239: 2153: 2115: 2050: 1892: 1800: 1686: 1674: 1484: 1469: 1064: 883: 831: 798: 789: 771: 679: 579: 506: 475: 289: 274: 162: 4677: 4663: 4178: 3197:

A register of baptisms, marriages, and burials in the parish of St. Martin in the Fields

371: 5775: 5705: 5691: 5628: 5575: 5561: 5547: 5540: 5205: 4870: 4332: 3923: 3905: 3340: 3277: 3269: 3219: 2674: 2247: 2021: 1620: 1568: 1255: 1211: 1150: 1118: 1013: 835: 659: 479: 414: 144: 58: 925: 6026: 5974: 5910: 5886: 5796: 5663: 5589: 5222: 5191: 4905: 4884: 4749: 4551: 4226: 4160: 4150: 4132: 4048: 3934: 3859: 3758: 3747: 3718: 3650: 3592: 3545: 3443: 3328: 3318: 3281: 3133: 2942: 2287: 2058: 1705: 1611: 1564: 1504: 1345: 1306: 1122: 1106: 998: 736:, a legal ploy through which he gained leniency by reciting a brief Bible verse (the 733: 705: 701: 632: 467: 227: 107: 6053: 6021: 5903: 5834: 5554: 5451: 5428: 5414: 5251: 4898: 4814: 4706: 4560: 3886: 3877:

Honigmann, E. A. J. (1 February 2005). "Shakespeare's Deletions and False Starts".

3481: 3261: 3023: 2789: 2784: 2741:(1597), the records suggest these lost plays as wholly or partially Jonson's work: 2699: 2271: 2169: 2029: 1952: 1828: 1734: 1556: 1522: 1510: 1341: 1322: 1286: 1172: 1163: 954: 934: 909: 817: 651: 525: 463: 3035: 2798:, have been ventured by individual researchers, but have met with cool responses. 708:

and charged with "Leude and mutynous behaviour", while Nashe managed to escape to

462:

Jonson's father lost his property, was imprisoned, and, as a Protestant, suffered

5958: 5642: 5533: 5322: 5068: 4599: 4542: 4407: 4388: 4208: 4184: 4122: 2480: 1996: 1988: 1960: 1940: 1846:

offered a more common assessment in the "Essay of Dramatic Poesie," in which his

1444: 1298:, who warned him about disfavour at court in the wake of his dispute with Jones. 1196: 1026: 1020: 968:

On many of these projects, he collaborated, not always peacefully, with designer

896: 888: 879: 867: 713: 655: 599: 595: 498: 491: 5243: 2028:

metaphors and often vague phrasing. Since the critics who made this comparison (

1313:, in a more meticulous record than usual, notes that a passer-by, John Young of 5841: 5789: 5471: 5456: 5330: 4547: 4538: 3027: 2186: 2131: 1908: 1903: 1863: 1839: 1723: 1678: 1604: 1600: 1421: 1216: 1180: 1130: 914: 859: 840: 761: 717: 709: 628: 494: 418: 278: 4192:

Butler, Martin (Summer 1993). "Jonson's Folio and the Politics of Patronage".

4066: 3863: 2040:"tribe". For some of this tribe, the connection was as much social as poetic; 273:

poetry. He is regarded as "the second most important English dramatist, after

6081: 5747: 5670: 5649: 5446: 5295: 5019: 4689: 4521: 4435: 4363:. Vol. 15 (11th ed.). Cambridge University Press. pp. 502–507. 4354: 4344: 4152:

Shakespeare and Jonson: Their Reputations in the Seventeenth Century Compared

3332: 2750: 2428: 2161: 2036: 2017: 1968: 1923: 1797:

Shakespeare and Jonson: Their Reputations in the Seventeenth Century Compared

1719: 1670: 1309:, with the inscription "O Rare Ben Johnson " set in the slab over his grave. 1302: 1183:

was still fresh in people's minds) but he explained that his failure to take

994: 875: 670: 617: 560: 521: 3870: 2035:

In his time Jonson was at least as influential as Donne. In 1623, historian

1943:, he all but disappeared from the stage in the last quarter of the century. 1834:

At the Restoration, this sensed difference became a kind of critical dogma.

5804: 5476: 5436: 4821: 4623: 4619: 4174: 3907:

Discoveries, 1641; Conversations with William Drummond of Hawthornden, 1619

3654: 3265: 2108: 1956: 1876: 1478: 1314: 1295: 1270: 1142: 1134: 990: 846: 823: 781: 729: 687: 533: 502: 451: 297: 293: 266: 3910:. The Bodley Head Quartos. London: John Lane, The Bodley Head. p. 28. 1645:, Jonson's most extended effort at love poetry; various religious pieces; 1038:(acted and printed 1611), which achieved limited success and the comedies 5656: 4877: 4511: 3890: 3485: 2782:, a play in the canon of John Fletcher and his collaborators. The comedy 2177: 1979: 1947: 1843: 1787:

published the first new edition of Jonson's complete works for 60 years.

1776: 1771: 1742: 1489: 1318: 1310: 1261: 969: 774:

was among the first actors to be cast. Jonson followed this in 1599 with

697: 663: 529: 510: 487: 483: 3315:

Ben Jonson's walk to Scotland: an annotated edition of the 'foot voyage'

3273: 1922:'s edition into German in 1765. Shortly before the Romantic revolution, 1499: 598:

in English literature. By 1597, he was a working playwright employed by

5399: 5303: 3252:

Gossett, Suzanne (2004). "Marston, Collaboration, and 'Eastward Ho!'".

3223: 2070: 2013: 1880: 1650: 1544: 1432: 1386: in this section. Unsourced material may be challenged and removed. 1294:

drama. During the early 1630s, he also conducted a correspondence with

1102: 737: 591: 471: 338: in this section. Unsourced material may be challenged and removed. 206: 4614: 4099:

Jonson, B., "Discoveries and Some Poems," Cassell & Company, 1892.

2317:

A Private Entertainment of the King and Queen on May-Day (The Penates)

1870:, to whom may be traced the legend that Jonson owed the production of 5159: 4807: 4714: 2590: 2000: 1896: 1722:

relates stories of Jonson and Shakespeare engaging in debates in the

1220: 1184: 1176: 979: 3996:"Why should William Shakespeare have the last word over Ben Jonson?" 3313:

Loxley, James; Groundwater, Anna; Sanders, Julie (4 December 2014).

1514:, exhibit signs of an accommodation with the romantic tendencies of 1361: 313: 5198: 4956: 4569: 4565: 2705: 2340: 2062: 1646: 1624: 1548: 1464: 1448: 1291: 537: 455: 285: 4348: 1572:

the intricacy of his plots. Coleridge, for instance, claimed that

635:" (1603). A second son, also named Benjamin Jonson, died in 1635. 631:

when he was seven years old, upon which Jonson wrote the elegiac "

5635: 5338: 5279: 4828: 2655: 2192: 2066: 2025: 1884: 1629: 1536: 1532: 1494: 1301:

According to a contemporary letter written by Edward Thelwall of

1040: 571: 528:. After having been an apprentice bricklayer, Jonson went to the 447: 270: 242: 4180:

English Literature in the Earlier Seventeenth Century, 1600–1660

2520:

The Entertainment at Blackfriars, or The Newcastle Entertainment

563:, and took for trophies the weapons of the vanquished soldier. 4919: 4323:

Bland, Mark (2004). "Ben Jonson and the Legacies of the Past".

3855:

Ben Jonson's conversations with William Drummond of Hawthornden

3442:. Cambridge, England: Cambridge University Press. p. 231. 3062: 3060: 1888: 1855: 1847: 1615: 1456: 1452: 1443:"a contemptible mixture of the serio-comic, where the names of 1168: 1138: 863: 748: 725: 231: 3237:

Miola, Robert S. (2012). "The Case Is Altered, Introduction".

1838:

placed Jonson's comedies above all else in English drama, and

972:. For example, Jones designed the scenery for Jonson's masque 3645:

Hunt, Leigh (9 April 1828). "His epitaph, and Ben Jonson's".

3022:(online ed.). Oxford, England: Oxford University Press. 2639: 1851: 1552: 993:(about £60), leading some to identify him as England's first 555:(1619), of the conversations between Ben Jonson and the poet 532:

and volunteered to soldier with the English regiments of Sir

3591:. Rowman & Littlefield. 30 September 2018. p. 318. 3438:

Maxwell, Julie (2010). "Religion". In Sanders, Julie (ed.).

3057: 2181:, comedy (performed and printed 1605), a collaboration with 1117:

parish, and at the age of about seven he secured a place at

4964:

The Entertainment of the Kings of Great Britain and Denmark

3792: 3128:

Quincey, Thomas De (27 March 2003). Milligan, Barry (ed.).

2937:. Cambridge, England: Cambridge University Press. pp. 2349:

The Entertainment of the Kings of Great Britain and Denmark

1460: 899:

reported that Jonson was living on Robert Townsend, son of

721: 608:(1598) had established Jonson's reputation as a dramatist. 3647:

Life of Sir William Davenant, with specimens of his poetry

3540:. Cambridge, England: Cambridge University Press. p. 2324:

The Entertainment of the Queen and Prince Henry at Althorp

1129:

took place in October 1598, while Jonson was on remand in

640:

Esme Stuart, 3rd Duke of Lennox and 7th Seigneur d'Aubigny

478:

in London. Later, a family friend paid for his studies at

4605:

Audio resources on Ben Jonson at TheEnglishCollection.com

4300:

The Rhetoric of Credit. Merchants in Early Modern Writing

3729:…a plea for the passerby's prayers (the Latin imperative 3130:

Confessions of an English Opium Eater: And Other Writings

2046: 4936:

A Private Entertainment of the King and Queen on May-Day

4317:

The Cambridge History of English and American Literature

4271:, ed. G. B. Harrison. New York: Barnes & Noble, 1966 3312: 3210:

Bowers, Fredson T. (July 1937). "Ben Jonson the Actor".

2889:

The Editors of Encyclopaedia Britannica (12 June 2024).

1627:" ("Come, my Celia, let us prove") that appears also in 805:, who Jonson believed had accused him of lustfulness in 3622:. Dean and Chapter of Westminster Abbey. Archived from 3471: 3052:

The Cambridge Edition of the Works of Ben Jonson Online

2073:

abducted from his parents who acted in Jonson's plays.

1578:

had one of the three most perfect plots in literature.

1498:

to "mix profit with your pleasure". His late plays or "

1101:

Jonson recounted that his father had been a prosperous

516:

On leaving Westminster School in 1589, Jonson attended

4585:

Digitised Facsimiles of Jonson's second folio, 1640/1

4305:

Teague, Frances. "Ben Jonson and the Gunpowder Plot."

3010:

Donaldson, Ian (2008). "Benjamin Jonson (1572–1637)".

2599:

The King's Entertainment at Welbeck in Nottinghamshire

724:

on 22 September 1598 in Hogsden Fields (today part of

524:(1608–61), Jonson at this time built a garden wall in 446:, a genealogy that is attested by the three spindles ( 6070:† = Not published in the Beaumont and Fletcher folios 4288:

Lincoln, Nebraska, University of Nebraska Press, 1975

760:, capitalising on the vogue for humorous plays which 650:

By summer 1597, Jonson had a fixed engagement in the

4250:. Madison, Wis.: University of Wisconsin Press, 1954 3676: 3567: 1895:

critics saw a writer whose learning had swamped his

6178:

English people of the Anglo-Spanish War (1585–1604)

4302:(Madison/London: Associated University Press, 2002) 4225:. Oxford: Oxford University Press. pp. 181–2. 3981:

Discoveries Made Upon Men and Matter and Some Poems

3753:. Cambridge, MA: Harvard University Press. p. 3745:Fletcher, Angus (2007). "Structure of an epitaph". 3673:. New Haven: Yale University Press, 1922. pp. 195–6 3177: 3175: 3054:. Cambridge University Press. Accessed 11 June 2021 2955: 2870: 2868: 2866: 2864: 2862: 2860: 1685:There are many legends about Jonson's rivalry with 1236:or the "Tribe of Ben", those younger poets such as 844:to Jonson and the two collaborated with Chapman on 3994: 3967:William Shakspere's Smalle Latine and Lesse Greeke 3922: 3534:"True relation: the life and career of Ben Jonson" 3095:Hugh Holland, Complete Poetry. A Hypertext Edition 2911: 2909: 2858: 2856: 2854: 2852: 2850: 2848: 2846: 2844: 2842: 2840: 2235:, comedy (performed 31 October 1614; printed 1631) 1783:In 2012, after more than two decades of research, 1649:including the poem to Shakespeare and a sonnet on 5273: 4637:Robert Pinsky reads "My Picture Left in Scotland" 3952:praised than to be pardoned age but for all time. 3749:Time, space, and motion in the age of Shakespeare 2267:, comedy (licensed 12 October 1632; printed 1641) 2259:, comedy (licensed 19 January 1629; printed 1631) 2024:school of poetry, with its reliance on strained, 754:In 1598 Jonson produced his first great success, 566:Johnson is reputed to have visited the antiquary 6079: 4581:The Cambridge edition of the works of Ben Jonson 4183:, Oxford History of English Literature, Oxford: 4067:"Marketing Luxury at the New Exchange: Jonson's 3239:The Cambridge Edition of the Works of Ben Jonson 3172: 2767:The Entertainment at Salisbury House for James I 1660: 1590:"Epitaph for Cecilia Bulstrode" manuscript, 1609 989:In 1616 Jonson received a yearly pension of 100 6108:17th-century English dramatists and playwrights 6098:16th-century English dramatists and playwrights 4506:Imitation and Praise in the Poems of Ben Jonson 2906: 2837: 2438:(27 December 1613/1 January 1614; printed 1616) 2251:, comedy (completed by Feb. 1626; printed 1631) 27:English playwright, poet, and actor (1572–1637) 6143:Converts to Roman Catholicism from Anglicanism 6138:Converts to Anglicanism from Roman Catholicism 5090:News from the New World Discovered in the Moon 3106: 3104: 2922: 2779:Rollo, Duke of Normandy, or The Bloody Brother 2513:News from the New World Discovered in the Moon 2310:(performed 15 March 1604; printed 1604); with 1967:, who was more interested in Jonson than most 1807:, Jonson's work, along with Shakespeare's and 6203:People educated at Westminster School, London 5514:The Masque of the Inner Temple and Gray's Inn 5385: 5259: 5125:Time Vindicated to Himself and to His Honours 4730: 4591:Video interview with scholar David Bevington 3649:. The Companion. Vol. XIV. p. 187. 3536:. In Harp, Richard; Stewart, Stanley (eds.). 2933:. In Harp, Richard; Stewart, Stanley (eds.). 2551:Time Vindicated to Himself and to His Honours 2527:Pan's Anniversary, or The Shepherd's Holy-Day 540:. England was allied with the Dutch in their 421:cultivated the artistic genius of Ben Jonson. 5876:Four Plays, or Moral Representations, in One 3531: 3241:. Cambridge, UK: Cambridge University Press. 2016:. In this comparison, Jonson represents the 1842:called Jonson the father of English comedy. 732:, Jonson pleaded guilty but was released by 4630:Robert Pinsky reads "His Excuse For Loving" 4610:Poems by Ben Jonson at PoetryFoundation.org 4452:Richard Harp & Stanley Stewart (eds.). 3983:, 1892; Kindle ebook 2011, ASIN B004TOT8FQ. 3904:Jonson, Ben (1923). Harrison, G. B. (ed.). 3101: 1563:). He was more diligent in adhering to the 1019:On returning to England, he was awarded an 474:two years later. Jonson attended school in 5392: 5378: 5266: 5252: 5132:Neptune's Triumph for the Return of Albion 4737: 4723: 4676: 4662: 4654:"Archival material relating to Ben Jonson" 3345:: CS1 maint: location missing publisher ( 2591:Chloridia: Rites to Chloris and Her Nymphs 2559:Neptune's Triumph for the Return of Albion 1764: 68:; oil on canvas painting at the 51: 4422:Martin Butler & Jane Rickard (eds.). 4284:Logan, Terence P., and Denzell S. Smith. 4218: 3876: 3851: 3785:Historical Memorials of Westminster Abbey 3616:"Monuments & Gravestones: Ben Jonson" 3297: 3009: 2003:and in the rising culture of mass media. 1756:My gentle Shakespeare, must enjoy a part. 1402:Learn how and when to remove this message 858:At the beginning of the English reign of 815:. Jonson attacked the two poets again in 398:Learn how and when to remove this message 31:For other people with similar names, see 6173:English people convicted of manslaughter 3992: 3744: 3110: 3005: 3003: 3001: 2999: 2997: 2995: 2993: 2991: 2396:(11 April 1609; lost, rediscovered 1997) 2379:The Masque at Lord Haddington's Marriage 2264:The Magnetic Lady, or Humours Reconciled 2173:, tragedy (performed 1603; printed 1605) 1753:Yet must I not give Nature all: Thy Art, 1664: 1585: 1476:The comedies of his middle career, from 924: 424: 409: 6163:English male dramatists and playwrights 4999:The Speeches at Prince Henry's Barriers 4499:Ben Jonson: Public Poet and Private Man 4145: 4120: 3852:Patterson, Richard Ferrar, ed. (1923). 3610: 3608: 3532:van den Berg, Sara (30 November 2000). 3497: 3495: 3480:(2). Saskatoon, Saskatchewan: 201–229. 3437: 3397: 3395: 3251: 3127: 3019:Oxford Dictionary of National Biography 3013:Oxford Dictionary of National Biography 2401:The Speeches at Prince Henry's Barriers 2243:, comedy (performed 1616; printed 1631) 2219:, comedy (performed 1610; printed 1612) 2211:, comedy (performed 1609; printed 1616) 2165:, comedy (performed 1601; printed 1602) 2149:, comedy (performed 1599; printed 1600) 2141:, comedy (performed 1598; printed 1601) 686:In 1597, a play which he co-wrote with 14: 6080: 5041:Mercury Vindicated from the Alchemists 4744: 4279:Drama and Society in the Age of Jonson 4191: 3903: 3706: 3682: 3385: 3383: 3209: 3132:(Revised ed.). Penguin Classics. 3088: 3050:Donaldson, Ian. "Life of Ben Jonson". 2979:"Ben Jonson - Bibliotheca Alexandrina" 2673:, translated by Jonson (1640), with a 2449:Mercury Vindicated from the Alchemists 2227:, tragedy (performed and printed 1611) 1927:disastrous failures of productions of 1669:A 19th-century engraving illustrating 683:, may be his earliest surviving play. 5373: 5247: 4718: 4454:The Cambridge Companion to Ben Jonson 4447:Ben Jonson and the Lucianic Tradition 4322: 4064: 4007:from the original on 12 January 2022. 3920: 3573: 3538:The Cambridge Companion to Ben Jonson 3308: 3306: 3293: 3291: 3236: 2988: 2961: 2935:The Cambridge companion to Ben Jonson 2928: 2763:The Entertainment at Merchant Taylors 2099:revised performed 1633; printed 1640) 937:publication that included stage plays 5926:with Massinger, Chapman & Jonson 4992:The Entertainment at Britain's Burse 4343: 4173: 3845: 3644: 3605: 3516: 3492: 3456: 3392: 2972: 2970: 2885: 2883: 2874: 2393:The Entertainment at Britain's Burse 2291:, history (printed 1641), a fragment 1384:adding citations to reliable sources 1355: 1227: 336:adding citations to reliable sources 307: 288:, well-read and cultured man of the 5167:The King's Entertainment at Welbeck 5146:The Fortunate Isles and Their Union 5013:Love Freed from Ignorance and Folly 4253:Eccles, Mark. "Jonson's Marriage." 4065:Scott, Alison V. (September 2006). 3380: 3089:Sutton, Dana F. (10 October 2019). 2788:was printed in 1652 as the work of 2575:The Fortunate Isles and Their Union 2538:(3 and 5 August 1621; printed 1640) 2421:Love Freed from Ignorance and Folly 1567:than many of his peers—although as 720:, for killing Gabriel Spenser in a 433:was friend and confidant to Jonson. 222:11 June 1572 – 18 August [ 24: 6198:People associated with Shakespeare 5936:with Massinger, Ford & Webster 5027:A Challenge at Tilt, at a Marriage 4477:(Cambridge University Press, 2009) 4456:(Cambridge University Press, 2000) 4449:(Cambridge University Press, 1979) 4368: 4047:, Weidenfeld & Nicolson, 1998 4034:(London: Routledge, 1995). p. 499, 3713:. London: Viking Penguin. p. 3303: 3288: 2710:(Drink to Me Only With Thine Eyes) 2436:A Challenge at Tilt, at a Marriage 2126:–98; printed 1609), possibly with 1044:(acted 1605 and printed in 1607), 853: 454:: one spindle is a diamond-shaped 25: 6219: 5153:Love's Triumph Through Callipolis 4674:National Portrait Gallery, London 4593:The Collected Works of Ben Jonson 4539:Works by Ben Jonson in eBook form 4532: 4430:Ben Jonson: The Critical Heritage 4293:Ben Jonson and the Cavalier Poets 4281:. London: Chatto and Windus, 1968 3993:Hadfield, Andrew (24 July 2012). 3707:Stubbs, John (24 February 2011). 3513:, quoted in Donaldson (2011: 487) 3167:Grolier Encyclopedia of Knowledge 2976: 2967: 2917:Grolier Encyclopedia of Knowledge 2880: 2583:Love's Triumph Through Callipolis 2076: 154:Before 1597 – 1637 71:National Portrait Gallery, London 5507:The Knight of the Burning Pestle 5139:The Masque of Owls at Kenilworth 5097:The Entertainment at Blackfriars 4573: 4069:Entertainment at Britain's Burse 2594:(22 February 1631; printed 1631) 2567:The Masque of Owls at Kenilworth 2508:(17 February 1618; printed 1641) 2492:(22 February 1617; printed 1617) 2444:(29 December 1613; printed 1616) 1916:Heinrich Wilhelm von Gerstenberg 1850:Neander compares Shakespeare to 1827:drew the same comparison in his 1360: 1175:in London to answer a charge of 1076:were immediately successful. Of 957:when the King was in residence. 780:, a pedantic attempt to imitate 312: 205: 6183:English prisoners and detainees 4470:(Oxford University Press, 2005) 4468:Ben Johnson in the Romantic Age 4442:(Oxford University Press, 2011) 4102: 4093: 4058: 4037: 4024: 4011: 3986: 3979:Morley, Henry, Introduction to 3973: 3957: 3914: 3897: 3832: 3823: 3798: 3774: 3738: 3700: 3691: 3661: 3638: 3620:Westminster Abbey 1065 to today 3579: 3558: 3525: 3504: 3465: 3431: 3422: 3413: 3404: 3371: 3362: 3353: 3245: 3230: 3203: 3188: 3159: 3146: 3121: 3082: 3069: 2808: 2562:(26 January 1624; printed 1624) 2554:(19 January 1623; printed 1623) 2424:(3 February 1611; printed 1616) 2369:(2 February 1609; printed 1609) 2361:(10 January 1608; printed 1608) 2256:The New Inn, or The Light Heart 1371:needs additional citations for 1010:William Drummond of Hawthornden 557:William Drummond of Hawthornden 431:William Drummond of Hawthornden 323:needs additional citations for 181: 6188:English Renaissance dramatists 4295:. New York: Norton Press, 1974 4124:Shakespeare and the Poets' War 3858:. London: Blackie. p. 5. 3687:. Silver, Burdett. p. 34. 3042: 2614: 2586:(9 January 1631; printed 1631) 2578:(9 January 1625; printed 1625) 2570:(19 August 1624; printed 1641) 2546:(6 January 1622; printed 1622) 2516:(7 January 1620: printed 1641) 2476:(6 January 1617; printed 1641) 2468:(Christmas 1616; printed 1641) 2460:(1 January 1616; printed 1616) 2452:(6 January 1615; printed 1616) 2432:(6 January 1612; printed 1616) 2416:(1 January 1611; printed 1616) 2408:(6 January 1610; printed 1616) 2344:(5 January 1606; printed 1606) 2336:(6 January 1605; printed 1608) 2157:(performed 1600; printed 1601) 1813:English Renaissance dramatists 1105:landowner until the reign of " 821:(1601). Dekker responded with 13: 1: 6048:(Shakespeare & Fletcher?) 5823:with Beaumont & Massinger 5076:Pleasure Reconciled to Virtue 4587:Jonson's second folio, 1640/1 4492:Ben Jonson: His Life and Work 4485:Ben Jonson: His Craft and Art 4463:(Macmillan, Basingstoke 1995) 4319:. New York: Putnam, 1907–1921 4075:Early Modern Literary Studies 4032:Jonson: The Critical Heritage 3879:The Review of English Studies 3066:Robert Chambers, Book of Days 2826: 2814:Studies based on W.W. Greg's 2730:Ben Jonson, 1640 (posthumous) 2663:The Execration against Vulcan 2659:, translated by Jonson (1623) 2530:(19 June 1620?; printed 1641) 2497:Pleasure Reconciled to Virtue 2382: 2277: 2208:Epicoene, or the Silent Woman 2197: 2120: 2093: 1661:Relationship with Shakespeare 1623:"To Penshurst" and the poem " 1047:Epicoene, or the Silent Woman 931:The Workes of Beniamin Ionson 584: 303: 247: 219: 84: 62: 6133:Burials at Westminster Abbey 6017:Beaumont and Fletcher folios 5233:Sons of Ben (literary group) 4943:The Entertainment at Althorp 4836:Epicœne, or The Silent Woman 4670:Portraits of Benjamin Jonson 4647:Choral Public Domain Library 4557:Works by or about Ben Jonson 4413:Resources in other libraries 4394:Resources in other libraries 4325:Huntington Library Quarterly 4202:Wayne State University Press 4030:Quoted in Craig, D. H., ed. 3840:Huntington Library Quarterly 3036:UK public library membership 2931:"Jonson's critical heritage" 2831: 2610:(30 July 1634; printed 1641) 2353:(24 July 1606; printed 1616) 2328:(25 June 1603; printed 1604) 1677:and Jonson debating at the " 518:St John's College, Cambridge 7: 6007:English Renaissance theatre 5713:Rule a Wife and Have a Wife 5228:English Renaissance theatre 4985:The Hue and Cry After Cupid 4794:Every Man out of His Humour 4572:(public domain audiobooks) 4461:Ben Jonson: A Literary Life 4215:New York: E.P. Dutton, 1953 4157:University of Chicago Press 4071:and the Rhetoric of Wonder" 3929:. London: Praeger. p. 3474:Canadian Journal of History 2816:The Shakespeare First Folio 2602:(21 May 1633; printed 1641) 2374:The Hue and Cry After Cupid 2283:, printed 1641), unfinished 2146:Every Man out of His Humour 2065:"; "To Penshurst"; and the 2006: 1351: 1096: 982:on 1 January 1611 in which 801:in 1600. It satirised both 777:Every Man out of His Humour 700:'s so-called interrogator, 574:early in the 17th century. 230:; he is best known for the 10: 6224: 6113:17th-century English poets 6103:16th-century English poets 5847:with Massinger & Field 5174:Love's Welcome at Bolsover 4260:Eliot, T.S. "Ben Jonson." 4213:Ben Jonson of Westminster. 4121:Bednarz, James P. (2001), 4114: 4108:Logan and Smith, pp. 82–92 3921:Pogue, Kate Emery (2006). 3842:85, no. 3 (2022): 447-470. 3111:Drummond, William (1619). 2607:Love's Welcome at Bolsover 2381:(9 February 1608; printed 2319:(1 May 1604; printed 1616) 2295: 1795:As G. E. Bentley notes in 1790: 1785:Cambridge University Press 1419:Apart from two tragedies, 1269:), which in turn prompted 963:Algernon Charles Swinburne 642:and Sir Robert Townshend. 29: 6118:17th-century male writers 6068: 6035: 5997: 5950: 5814: 5762:The Custom of the Country 5722: 5606: 5523: 5498: 5485: 5409: 5349: 5314: 5287: 5215: 5183: 5111:The Gypsies Metamorphosed 5034:The Irish Masque at Court 4918: 4757: 4703: 4694: 4686: 4643:Free scores by Ben Jonson 4408:Resources in your library 4389:Resources in your library 4337:10.1525/hlq.2004.67.3.371 4309:5 (1998). pp. 249–52 4255:Review of English Studies 4129:Columbia University Press 3410:Harp; Stewart (2000: xiv) 3401:Donaldson (2011: 134–140) 2757:(1599), with Dekker; and 2718:Timber, or Discoveries... 2535:The Gypsies Metamorphosed 2442:The Irish Masque at Court 1836:Charles de Saint-Évremond 1655:Execration against Vulcan 1581: 1088:and (to a lesser extent) 645: 570:at a residence of his in 204: 199: 191: 168: 158: 150: 140: 130: 113: 103: 93: 78: 50: 43: 6208:Writers from Westminster 6153:English literary critics 5970:(Middleton & Rowley) 5941:The Fair Maid of the Inn 5852:The Honest Man's Fortune 5741:The Little French Lawyer 5615:The Faithful Shepherdess 5006:Oberon, the Faery Prince 4494:(Routledge, London 1986) 4487:(Routledge, London 2017) 3685:The World and Its People 3671:The Jonson Allusion Book 2929:Evans, Robert C (2000). 2801: 2759:Robert II, King of Scots 2749:(1598), with Porter and 2490:The Masque at Lord Hay's 2413:Oberon, the Faery Prince 2308:The King's Entertainment 2081: 1997:sociopolitical criticism 1706:"De Shakespeare Nostrat" 1414: 1029:from Oxford University. 975:Oberon, the Faery Prince 728:). Tried on a charge of 654:, then performing under 97:18 August 1637 (aged 65) 6045:The History of Cardenio 5931:Rollo, Duke of Normandy 5678:The Humorous Lieutenant 5083:For the Honour of Wales 5048:The Golden Age Restored 4950:The Masque of Blackness 4850:Catiline His Conspiracy 4787:Every Man in His Humour 4360:Encyclopædia Britannica 4291:MacLean, Hugh, editor. 4264:. London: Methuen, 1920 4219:Donaldson, Ian (2011). 3683:Dunton, Larkin (1896). 3462:Donaldson (2011: 228–9) 3185:, 15th edition, p. 612. 3183:Encyclopædia Britannica 3154:Encyclopædia Britannica 3077:Encyclopædia Britannica 2896:Encyclopedia Britannica 2505:For the Honour of Wales 2457:The Golden Age Restored 2333:The Masque of Blackness 2224:Catiline His Conspiracy 2138:Every Man in His Humour 1872:Every Man in his Humour 1765:Reception and influence 1729:Every Man in His Humour 1642:A Celebration of Charis 1528:Every Man in His Humour 1115:St Martin-in-the-Fields 959:The Masque of Blackness 950:The Masque of Blackness 767:An Humorous Day's Mirth 757:Every Man in His Humour 704:. Jonson was jailed in 625:St Martin-in-the-Fields 605:Every Man in His Humour 553:Hawthornden Manuscripts 450:) in the Jonson family 296:(1603–1625) and of the 237:Every Man in His Humour 6128:British Poets Laureate 5967:Wit at Several Weapons 4929:The Coronation Triumph 4892:Rollo Duke of Normandy 4345:Ward, Adolphus William 3266:10.1086/rd.33.41917391 3156:, 15th edition, p. 611 3079:, 15th edition, p. 611 3028:10.1093/ref:odnb/15116 2733: 2670:Horace's Art of Poetry 2303:The Coronation Triumph 1831:later in the century. 1682: 1591: 1559:, for example, judged 1488:are for the most part 938: 795:Children of the Chapel 546:ongoing war with Spain 542:fight for independence 434: 422: 277:, during the reign of 5894:The Two Noble Kinsmen 5828:Thierry and Theodoret 5402:Beaumont and Fletcher 5062:The Vision of Delight 5055:Christmas, His Masque 4697:British Poet Laureate 4526:Shakespeare & Co. 4504:Richard S. Peterson. 4021:(London, 1725), p. 1. 3925:Shakespeare's Friends 3501:Donaldson (2011: 272) 3440:Ben Jonson in context 3428:Donaldson (2011: 229) 3419:Donaldson (2011: 143) 3377:Donaldson (2011: 176) 3199:(London, 1898), p. 40 2722: 2473:The Vision of Delight 2465:Christmas, His Masque 2107:, comedy (1597, with 1668: 1589: 928: 712:. Two of the actors, 594:(1558–94), the first 444:Dumfries and Galloway 428: 413: 6193:Linguists of English 5921:The Maid in the Mill 5859:The Queen of Corinth 5769:The Lovers' Progress 5699:The Wild Goose Chase 5118:The Masque of Augurs 4978:The Masque of Queens 4971:The Masque of Beauty 4658:UK National Archives 4598:10 June 2010 at the 4019:Works of Shakespeare 4017:Alexander Pope, ed. 3486:10.3138/cjh.30.2.201 3359:Donaldson (2011: 56) 3212:Studies in Philology 3169:, volume 11, p. 122. 2919:, volume 10, p. 388. 2543:The Masque of Augurs 2486:The Masque of Lethe, 2406:The Lady of the Lake 2366:The Masque of Queens 2358:The Masque of Beauty 1918:translated parts of 1380:improve this article 793:was produced by the 614:St Magnus-the-Martyr 332:improve this article 286:classically educated 135:Early Modern English 6158:English male actors 6057:(possibly based on 5866:The Knight of Malta 5755:The Double Marriage 5685:The Island Princess 5597:The Noble Gentleman 5442:William Shakespeare 5358:The Evil of the Day 4864:The Devil Is an Ass 4773:The Case is Altered 4615:Works of Ben Jonson 4566:Works by Ben Jonson 4548:Works by Ben Jonson 4475:Ben Jonson and Envy 4428:D. H. Craig (ed.). 4350:"Jonson, Ben" 3389:Riggs (1989: 51–52) 2795:The London Prodigal 2747:Hot Anger Soon Cold 2698:, (London, 1641) a 2645:A Discourse of Love 2240:The Devil is an Ass 2116:The Case is Altered 2069:on Salomon Pavy, a 1774:wrote of Jonson in 1695:and the setting of 1541:The Case is Altered 1485:The Devil Is an Ass 1470:The Case is Altered 1090:The Devil is an Ass 1065:The Devil Is an Ass 901:Sir Roger Townshend 832:War of the Theatres 799:Blackfriars Theatre 772:William Shakespeare 680:The Case is Altered 580:The Spanish Tragedy 507:William Shakespeare 290:English Renaissance 275:William Shakespeare 265:(1614) and for his 243:Volpone, or The Fox 163:English Renaissance 6168:English male poets 5776:The Spanish Curate 5706:A Wife for a Month 5576:A King and No King 5569:The Maid's Tragedy 4871:The Staple of News 4528:(Allen Lane, 2006) 4516:Ben Jonson: A Life 4501:(J. M. Dent, 1976) 4440:Ben Jonson: A Life 4307:Ben Jonson Journal 4222:Ben Jonson: A Life 4045:Lives of the Poets 4043:Schmidt, Michael, 3891:10.1093/res/hgi003 3697:Donaldson (2011:1) 2716:It is in Jonson's 2675:commendatory verse 2629:(1616), including 2248:The Staple of News 2203:–06; printed 1607) 1683: 1621:country-house poem 1592: 1569:Margaret Cavendish 1516:Elizabethan comedy 1281:of wine and beer. 1256:The Staple of News 1215:a full chalice of 1212:Henry IV of France 1119:Westminster School 939: 933:(1616), the first 884:country house poem 480:Westminster School 435: 429:The Scottish poet 423: 415:Westminster School 145:Westminster School 59:Abraham Blyenberch 6148:English duellists 6075: 6074: 6027:Humphrey Robinson 5993: 5992: 5975:The Laws of Candy 5911:Wit Without Money 5797:The Elder Brother 5664:The Loyal Subject 5622:The Woman's Prize 5590:The Scornful Lady 5583:Love's Pilgrimage 5367: 5366: 5241: 5240: 5223:Ben Jonson folios 5192:On My First Sonne 5104:Pan's Anniversary 4911: 4906:Mortimer His Fall 4885:The Magnetic Lady 4713: 4712: 4704:Succeeded by 4552:Project Gutenberg 4508:(Routledge, 2011) 4473:Lynn S. Meskill. 4432:(Routledge, 1990) 4375:Library resources 4313:Thorndike, Ashley 4246:Doran, Madeline. 4232:978-0-19-812976-9 4166:978-0-2260-4269-5 4138:978-0-2311-2243-6 4053:978-0-7538-0745-3 3812:on 19 August 2014 3764:978-0-674-02308-6 3724:978-0-670-91753-2 3626:on 7 January 2008 3598:978-1-64143-264-1 3522:Riggs (1989: 177) 3449:978-0-521-89571-2 3324:978-1-107-00333-0 3254:Renaissance Drama 3139:978-0-14-043901-4 3034:(Subscription or 2743:Richard Crookback 2636:On My First Sonne 2288:Mortimer His Fall 2059:On My First Sonne 1698:The Winter's Tale 1647:encomiastic poems 1612:On My First Sonne 1565:classical unities 1505:The Magnetic Lady 1412: 1411: 1404: 1346:English Civil War 1335:Catholic doctrine 1307:Westminster Abbey 1267:An Ode to Himself 1246:Sir John Suckling 1228:Decline and death 1205:Dean of St Paul's 1145:on the orders of 1123:Westminster Abbey 999:Ben Jonson folios 895:In February 1603 876:Sir Philip Sidney 734:benefit of clergy 706:Marshalsea Prison 702:Richard Topcliffe 658:'s management at 633:On My First Sonne 623:The registers of 568:Sir Robert Cotton 408: 407: 400: 382: 228:comedy of humours 213: 212: 174:Ann Therese Lewis 159:Literary movement 108:Westminster Abbey 16:(Redirected from 6215: 6054:Double Falsehood 6022:Humphrey Moseley 5904:The Night Walker 5881:with Shakespeare 5496: 5495: 5452:Thomas Middleton 5429:Philip Massinger 5415:Francis Beaumont 5394: 5387: 5380: 5371: 5370: 5268: 5261: 5254: 5245: 5244: 4909: 4899:The Sad Shepherd 4857:Bartholomew Fair 4815:Sejanus His Fall 4801:Cynthia's Revels 4780:The Isle of Dogs 4739: 4732: 4725: 4716: 4715: 4707:William Davenant 4687:Preceded by 4684: 4683: 4680: 4666: 4661: 4577: 4576: 4561:Internet Archive 4497:George Parfitt. 4490:Rosalind Miles. 4445:Douglas Duncan. 4364: 4352: 4340: 4315:. 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Bradbrook 1976:The Sacred Wood 1961:William Gifford 1941:William Gifford 1793: 1767: 1663: 1584: 1445:Augustus Caesar 1417: 1408: 1397: 1391: 1388: 1377: 1365: 1354: 1230: 1197:Anne of Denmark 1121:, then part of 1099: 1012:, sited on the 961:was praised by 897:John Manningham 880:Lady Mary Wroth 868:Anne of Denmark 856: 854:Royal patronage 764:had begun with 714:Gabriel Spenser 656:Philip Henslowe 648: 600:Philip Henslowe 596:revenge tragedy 587: 544:as well as the 536:(1560–1609) in 492:officer of arms 404: 393: 387: 384: 341: 339: 329: 317: 306: 250: 216:Benjamin Jonson 187: 184: 1594) 179: 175: 141:Alma mater 126: 99:London, England 98: 88: 83: 82:Benjamin Jonson 74: 69: 65: 46: 37: 30: 28: 23: 22: 15: 12: 11: 5: 6221: 6211: 6210: 6205: 6200: 6195: 6190: 6185: 6180: 6175: 6170: 6165: 6160: 6155: 6150: 6145: 6140: 6135: 6130: 6125: 6120: 6115: 6110: 6105: 6100: 6095: 6090: 6073: 6072: 6069: 6066: 6065: 6063: 6062: 6049: 6039: 6037: 6033: 6032: 6030: 6029: 6024: 6019: 6014: 6009: 6003: 6001: 5995: 5994: 5991: 5990: 5988: 5987: 5983:The Coronation 5979: 5971: 5963: 5954: 5952: 5948: 5947: 5945: 5944: 5937: 5934: 5927: 5924: 5917: 5914: 5907: 5900: 5897: 5890: 5882: 5879: 5872: 5869: 5862: 5855: 5848: 5845: 5838: 5831: 5824: 5820: 5818: 5812: 5811: 5809: 5808: 5800: 5793: 5790:The Sea Voyage 5786: 5783:The Prophetess 5779: 5772: 5765: 5758: 5751: 5744: 5737: 5728: 5726: 5720: 5719: 5717: 5716: 5709: 5702: 5695: 5688: 5681: 5674: 5667: 5660: 5653: 5646: 5639: 5632: 5625: 5618: 5610: 5608: 5604: 5603: 5601: 5600: 5593: 5586: 5579: 5572: 5565: 5558: 5551: 5544: 5537: 5529: 5527: 5521: 5520: 5518: 5517: 5510: 5502: 5500: 5493: 5483: 5482: 5480: 5479: 5474: 5472:George Chapman 5469: 5464: 5459: 5457:William Rowley 5454: 5449: 5444: 5439: 5433: 5432: 5425: 5418: 5410: 5407: 5406: 5397: 5396: 5389: 5382: 5374: 5365: 5364: 5362: 5361: 5353: 5351: 5347: 5346: 5344: 5343: 5335: 5334:(1964 musical) 5327: 5318: 5316: 5312: 5311: 5309: 5308: 5300: 5291: 5289: 5285: 5284: 5271: 5270: 5263: 5256: 5248: 5239: 5238: 5236: 5235: 5230: 5225: 5219: 5217: 5213: 5212: 5210: 5209: 5202: 5195: 5187: 5185: 5181: 5180: 5178: 5177: 5170: 5163: 5156: 5149: 5142: 5135: 5128: 5121: 5114: 5107: 5100: 5093: 5086: 5079: 5072: 5065: 5058: 5051: 5044: 5037: 5030: 5023: 5016: 5009: 5002: 4995: 4988: 4981: 4974: 4967: 4960: 4953: 4946: 4939: 4932: 4924: 4922: 4916: 4915: 4913: 4912: 4902: 4895: 4888: 4881: 4874: 4867: 4860: 4853: 4846: 4839: 4832: 4825: 4818: 4811: 4804: 4797: 4790: 4783: 4776: 4769: 4761: 4759: 4755: 4754: 4742: 4741: 4734: 4727: 4719: 4711: 4710: 4705: 4702: 4693: 4688: 4682: 4681: 4667: 4650: 4640: 4633: 4626: 4617: 4612: 4607: 4602: 4589: 4583: 4578: 4563: 4554: 4545: 4534: 4533:External links 4531: 4530: 4529: 4519: 4509: 4502: 4495: 4488: 4481:Rosalind Miles 4478: 4471: 4466:Tom Lockwood. 4464: 4459:W. David Kay. 4457: 4450: 4443: 4433: 4426: 4416: 4415: 4410: 4404: 4400: 4397: 4396: 4391: 4385: 4384: 4373: 4372: 4370: 4367: 4366: 4365: 4355:Chisholm, Hugh 4341: 4331:(3): 371–400. 4320: 4310: 4303: 4296: 4289: 4282: 4275: 4272: 4265: 4258: 4251: 4244: 4231: 4216: 4206: 4189: 4171: 4165: 4147:Bentley, G. E. 4143: 4137: 4116: 4113: 4111: 4110: 4101: 4092: 4057: 4036: 4023: 4010: 3985: 3972: 3956: 3939: 3913: 3896: 3885:(223): 37–48. 3869: 3844: 3831: 3822: 3797: 3781:Stanley, A. P. 3773: 3763: 3737: 3723: 3699: 3690: 3675: 3660: 3637: 3604: 3597: 3578: 3576:, p. 398. 3566: 3564:Maclean, p. 88 3557: 3550: 3524: 3515: 3503: 3491: 3464: 3455: 3448: 3430: 3421: 3412: 3403: 3391: 3379: 3370: 3361: 3352: 3323: 3302: 3298:Donaldson 2011 3287: 3256:. New series. 3244: 3229: 3218:(3): 392–406. 3202: 3194:Thomas Mason, 3187: 3181:"Ben Jonson", 3171: 3165:"Thomas Kyd", 3158: 3152:"Ben Jonson", 3145: 3138: 3120: 3100: 3091:"Introduction" 3081: 3075:"Ben Jonson", 3068: 3056: 3041: 2987: 2977:Ghazi, Ahmed. 2966: 2964:, p. 385. 2954: 2947: 2921: 2915:"Ben Jonson", 2905: 2879: 2835: 2833: 2830: 2828: 2825: 2822: 2821: 2806: 2805: 2803: 2800: 2727: 2714: 2713: 2702: 2693: 2687: 2681: 2679:Edward Herbert 2666: 2660: 2648: 2642: 2633: 2624: 2616: 2613: 2612: 2611: 2603: 2595: 2587: 2579: 2571: 2563: 2555: 2547: 2539: 2531: 2523: 2517: 2509: 2501: 2493: 2477: 2469: 2461: 2453: 2445: 2439: 2433: 2425: 2417: 2409: 2397: 2389: 2370: 2362: 2354: 2345: 2337: 2329: 2320: 2314: 2297: 2294: 2293: 2292: 2284: 2268: 2260: 2252: 2244: 2236: 2228: 2220: 2212: 2204: 2189: 2187:George Chapman 2174: 2166: 2158: 2150: 2142: 2134: 2132:Anthony Munday 2112: 2100: 2083: 2080: 2078: 2077:Jonson's works 2075: 2008: 2005: 1909:Sarah Fielding 1904:Alexander Pope 1864:Lewis Theobald 1854:and Jonson to 1840:Charles Gildon 1792: 1789: 1766: 1763: 1758: 1757: 1754: 1724:Mermaid Tavern 1679:Mermaid Tavern 1662: 1659: 1605:Gabriel Harvey 1601:Thomas Campion 1583: 1580: 1416: 1413: 1410: 1409: 1368: 1366: 1359: 1353: 1350: 1238:Robert Herrick 1229: 1226: 1217:communion wine 1181:Gunpowder Plot 1098: 1095: 1024:Master of Arts 929:Title page of 915:Gunpowder Plot 860:James VI and I 855: 852: 841:The Malcontent 762:George Chapman 718:Newgate Prison 710:Great Yarmouth 675:Palladis Tamia 647: 644: 629:bubonic plague 499:literary style 495:William Camden 419:William Camden 406: 405: 320: 318: 311: 305: 302: 211: 210: 202: 201: 197: 196: 193: 189: 188: 177: 173: 172: 170: 166: 165: 160: 156: 155: 152: 148: 147: 142: 138: 137: 132: 128: 127: 125: 124: 121: 117: 115: 111: 110: 105: 101: 100: 95: 91: 90: 80: 76: 75: 56: 48: 47: 44: 26: 9: 6: 4: 3: 2: 6220: 6209: 6206: 6204: 6201: 6199: 6196: 6194: 6191: 6189: 6186: 6184: 6181: 6179: 6176: 6174: 6171: 6169: 6166: 6164: 6161: 6159: 6156: 6154: 6151: 6149: 6146: 6144: 6141: 6139: 6136: 6134: 6131: 6129: 6126: 6124: 6121: 6119: 6116: 6114: 6111: 6109: 6106: 6104: 6101: 6099: 6096: 6094: 6091: 6089: 6086: 6085: 6083: 6067: 6060: 6056: 6055: 6050: 6047: 6046: 6041: 6040: 6038: 6034: 6028: 6025: 6023: 6020: 6018: 6015: 6013: 6010: 6008: 6005: 6004: 6002: 5996: 5985: 5984: 5980: 5977: 5976: 5972: 5969: 5968: 5964: 5961: 5960: 5956: 5955: 5953: 5949: 5943: 5942: 5938: 5935: 5933: 5932: 5928: 5925: 5923: 5922: 5918: 5915: 5913: 5912: 5908: 5906: 5905: 5901: 5898: 5896: 5895: 5891: 5889: 5888: 5883: 5880: 5878: 5877: 5873: 5870: 5868: 5867: 5863: 5861: 5860: 5856: 5854: 5853: 5849: 5846: 5844: 5843: 5839: 5837: 5836: 5835:Beggars' Bush 5832: 5830: 5829: 5825: 5822: 5821: 5819: 5813: 5807: 5806: 5801: 5799: 5798: 5794: 5792: 5791: 5787: 5785: 5784: 5780: 5778: 5777: 5773: 5771: 5770: 5766: 5764: 5763: 5759: 5757: 5756: 5752: 5750: 5749: 5748:The False One 5745: 5743: 5742: 5738: 5736: 5735: 5730: 5729: 5727: 5721: 5715: 5714: 5710: 5708: 5707: 5703: 5701: 5700: 5696: 5694: 5693: 5689: 5687: 5686: 5682: 5680: 5679: 5675: 5673: 5672: 5671:Women Pleased 5668: 5666: 5665: 5661: 5659: 5658: 5654: 5652: 5651: 5650:The Mad Lover 5647: 5645: 5644: 5640: 5638: 5637: 5633: 5631: 5630: 5626: 5624: 5623: 5619: 5617: 5616: 5612: 5611: 5609: 5605: 5599: 5598: 5594: 5592: 5591: 5587: 5585: 5584: 5580: 5578: 5577: 5573: 5571: 5570: 5566: 5564: 5563: 5559: 5557: 5556: 5552: 5550: 5549: 5545: 5543: 5542: 5538: 5536: 5535: 5531: 5530: 5528: 5522: 5516: 5515: 5511: 5509: 5508: 5504: 5503: 5501: 5497: 5494: 5484: 5478: 5475: 5473: 5470: 5468: 5465: 5463: 5460: 5458: 5455: 5453: 5450: 5448: 5447:James Shirley 5445: 5443: 5440: 5438: 5435: 5434: 5431: 5430: 5426: 5424: 5423: 5422:John Fletcher 5419: 5417: 5416: 5412: 5411: 5408: 5403: 5395: 5390: 5388: 5383: 5381: 5376: 5375: 5372: 5360: 5359: 5355: 5354: 5352: 5348: 5341: 5340: 5336: 5333: 5332: 5328: 5325: 5324: 5320: 5319: 5317: 5313: 5306: 5305: 5301: 5298: 5297: 5296:The Honey Pot 5293: 5292: 5290: 5286: 5282: 5281: 5276: 5269: 5264: 5262: 5257: 5255: 5250: 5249: 5246: 5234: 5231: 5229: 5226: 5224: 5221: 5220: 5218: 5214: 5207: 5203: 5200: 5196: 5193: 5189: 5188: 5186: 5182: 5176: 5175: 5171: 5169: 5168: 5164: 5162: 5161: 5157: 5155: 5154: 5150: 5148: 5147: 5143: 5141: 5140: 5136: 5134: 5133: 5129: 5127: 5126: 5122: 5120: 5119: 5115: 5113: 5112: 5108: 5106: 5105: 5101: 5099: 5098: 5094: 5092: 5091: 5087: 5085: 5084: 5080: 5078: 5077: 5073: 5071: 5070: 5066: 5064: 5063: 5059: 5057: 5056: 5052: 5050: 5049: 5045: 5043: 5042: 5038: 5036: 5035: 5031: 5029: 5028: 5024: 5022: 5021: 5020:Love Restored 5017: 5015: 5014: 5010: 5008: 5007: 5003: 5001: 5000: 4996: 4994: 4993: 4989: 4987: 4986: 4982: 4980: 4979: 4975: 4973: 4972: 4968: 4966: 4965: 4961: 4959: 4958: 4954: 4952: 4951: 4947: 4945: 4944: 4940: 4938: 4937: 4933: 4931: 4930: 4926: 4925: 4923: 4921: 4917: 4908: 4907: 4903: 4901: 4900: 4896: 4894: 4893: 4889: 4887: 4886: 4882: 4880: 4879: 4875: 4873: 4872: 4868: 4866: 4865: 4861: 4859: 4858: 4854: 4852: 4851: 4847: 4845: 4844: 4843:The Alchemist 4840: 4838: 4837: 4833: 4831: 4830: 4826: 4824: 4823: 4819: 4817: 4816: 4812: 4810: 4809: 4805: 4803: 4802: 4798: 4796: 4795: 4791: 4789: 4788: 4784: 4782: 4781: 4777: 4775: 4774: 4770: 4768: 4767: 4763: 4762: 4760: 4756: 4751: 4747: 4740: 4735: 4733: 4728: 4726: 4721: 4720: 4717: 4708: 4699: 4698: 4691: 4690:Samuel Daniel 4685: 4679: 4675: 4671: 4668: 4665: 4659: 4655: 4651: 4648: 4644: 4641: 4639:by Ben Jonson 4638: 4634: 4632:by Ben Jonson 4631: 4627: 4625: 4621: 4618: 4616: 4613: 4611: 4608: 4606: 4603: 4601: 4597: 4594: 4590: 4588: 4584: 4582: 4579: 4571: 4567: 4564: 4562: 4558: 4555: 4553: 4549: 4546: 4544: 4540: 4537: 4536: 4527: 4523: 4522:Stanley Wells 4520: 4517: 4513: 4510: 4507: 4503: 4500: 4496: 4493: 4489: 4486: 4482: 4479: 4476: 4472: 4469: 4465: 4462: 4458: 4455: 4451: 4448: 4444: 4441: 4437: 4436:Ian Donaldson 4434: 4431: 4427: 4425: 4421: 4420: 4414: 4411: 4409: 4406: 4405: 4403: 4402:By Ben Jonson 4395: 4392: 4390: 4387: 4386: 4381: 4376: 4362: 4361: 4356: 4351: 4346: 4342: 4338: 4334: 4330: 4326: 4321: 4318: 4314: 4311: 4308: 4304: 4301: 4297: 4294: 4290: 4287: 4283: 4280: 4276: 4273: 4270: 4267:Jonson, Ben. 4266: 4263: 4259: 4256: 4252: 4249: 4245: 4234: 4228: 4224: 4223: 4217: 4214: 4210: 4207: 4203: 4199: 4195: 4190: 4186: 4182: 4181: 4176: 4175:Bush, Douglas 4172: 4168: 4162: 4158: 4154: 4153: 4148: 4144: 4140: 4134: 4130: 4126: 4125: 4119: 4118: 4105: 4096: 4080: 4076: 4072: 4070: 4061: 4054: 4050: 4046: 4040: 4033: 4027: 4020: 4014: 4006: 4002: 3997: 3989: 3982: 3976: 3970: 3968: 3963:W.T. Baldwin 3960: 3953: 3942: 3940:0-275-98956-9 3936: 3932: 3927: 3926: 3917: 3909: 3908: 3900: 3892: 3888: 3884: 3880: 3873: 3865: 3861: 3857: 3856: 3848: 3841: 3835: 3826: 3811: 3807: 3801: 3794: 3790: 3786: 3782: 3777: 3770: 3766: 3760: 3756: 3751: 3750: 3741: 3734: 3732: 3726: 3720: 3716: 3712: 3711: 3703: 3694: 3686: 3679: 3672: 3669: 3664: 3656: 3652: 3648: 3641: 3625: 3621: 3617: 3611: 3609: 3600: 3594: 3590: 3589: 3582: 3575: 3570: 3561: 3553: 3551:0-521-64678-2 3547: 3543: 3539: 3535: 3528: 3519: 3512: 3507: 3498: 3496: 3487: 3483: 3479: 3475: 3468: 3459: 3451: 3445: 3441: 3434: 3425: 3416: 3407: 3398: 3396: 3386: 3384: 3374: 3365: 3356: 3348: 3342: 3334: 3330: 3326: 3320: 3316: 3309: 3307: 3300:, p. 428 3299: 3294: 3292: 3283: 3279: 3275: 3271: 3267: 3263: 3259: 3255: 3248: 3240: 3233: 3225: 3221: 3217: 3213: 3206: 3200: 3198: 3191: 3184: 3178: 3176: 3168: 3162: 3155: 3149: 3141: 3135: 3131: 3124: 3116: 3115: 3107: 3105: 3096: 3092: 3085: 3078: 3072: 3063: 3061: 3053: 3049: 3045: 3037: 3029: 3025: 3021: 3020: 3015: 3014: 3006: 3004: 3002: 3000: 2998: 2996: 2994: 2992: 2980: 2973: 2971: 2963: 2958: 2950: 2948:0-521-64678-2 2944: 2940: 2936: 2932: 2925: 2918: 2912: 2910: 2902: 2898: 2897: 2892: 2886: 2884: 2876: 2871: 2869: 2867: 2865: 2863: 2861: 2859: 2857: 2855: 2853: 2851: 2849: 2847: 2845: 2843: 2841: 2836: 2817: 2811: 2807: 2799: 2797: 2796: 2791: 2787: 2786: 2781: 2780: 2774: 2772: 2768: 2764: 2760: 2756: 2752: 2751:Henry Chettle 2748: 2744: 2740: 2739: 2726: 2721: 2719: 2711: 2708: 2707: 2703: 2701: 2697: 2694: 2691: 2688: 2685: 2682: 2680: 2676: 2672: 2671: 2667: 2664: 2661: 2658: 2657: 2652: 2649: 2646: 2643: 2641: 2637: 2634: 2632: 2628: 2625: 2622: 2619: 2618: 2609: 2608: 2604: 2601: 2600: 2596: 2593: 2592: 2588: 2585: 2584: 2580: 2577: 2576: 2572: 2569: 2568: 2564: 2561: 2560: 2556: 2553: 2552: 2548: 2545: 2544: 2540: 2537: 2536: 2532: 2529: 2528: 2524: 2521: 2518: 2515: 2514: 2510: 2507: 2506: 2502: 2499: 2498: 2494: 2491: 2487: 2483: 2482: 2478: 2475: 2474: 2470: 2467: 2466: 2462: 2459: 2458: 2454: 2451: 2450: 2446: 2443: 2440: 2437: 2434: 2431: 2430: 2429:Love Restored 2426: 2423: 2422: 2418: 2415: 2414: 2410: 2407: 2403: 2402: 2398: 2395: 2394: 2390: 2380: 2376: 2375: 2371: 2368: 2367: 2363: 2360: 2359: 2355: 2352: 2350: 2346: 2343: 2342: 2338: 2335: 2334: 2330: 2327: 2325: 2321: 2318: 2315: 2313: 2312:Thomas Dekker 2309: 2305: 2304: 2300: 2299: 2290: 2289: 2285: 2275: 2273: 2269: 2266: 2265: 2261: 2258: 2257: 2253: 2250: 2249: 2245: 2242: 2241: 2237: 2234: 2233: 2229: 2226: 2225: 2221: 2218: 2217: 2216:The Alchemist 2213: 2210: 2209: 2205: 2195: 2194: 2190: 2188: 2184: 2180: 2179: 2175: 2172: 2171: 2167: 2164: 2163: 2162:The Poetaster 2159: 2156: 2155: 2151: 2148: 2147: 2143: 2140: 2139: 2135: 2133: 2129: 2118: 2117: 2113: 2110: 2106: 2105: 2101: 2091: 2090: 2086: 2085: 2074: 2072: 2068: 2064: 2060: 2054: 2052: 2051:neoclassicism 2048: 2043: 2038: 2037:Edmund Bolton 2033: 2031: 2027: 2023: 2019: 2015: 2004: 2002: 1998: 1992: 1990: 1986: 1981: 1977: 1972: 1970: 1966: 1962: 1958: 1954: 1949: 1944: 1942: 1938: 1934: 1930: 1925: 1924:Edward Capell 1921: 1920:Peter Whalley 1917: 1912: 1910: 1905: 1900: 1898: 1894: 1890: 1886: 1882: 1878: 1873: 1869: 1868:Nicholas Rowe 1865: 1861: 1857: 1853: 1849: 1845: 1841: 1837: 1832: 1830: 1826: 1825:Samuel Butler 1820: 1818: 1814: 1810: 1806: 1802: 1798: 1788: 1786: 1781: 1779: 1778: 1773: 1762: 1755: 1752: 1751: 1750: 1748: 1745:. This poem, 1744: 1739: 1737: 1736: 1731: 1730: 1725: 1721: 1720:Thomas Fuller 1717: 1715: 1711: 1707: 1702: 1700: 1699: 1694: 1693: 1692:Julius Caesar 1688: 1680: 1676: 1672: 1671:Thomas Fuller 1667: 1658: 1656: 1652: 1648: 1644: 1643: 1638: 1634: 1632: 1631: 1626: 1622: 1617: 1613: 1608: 1606: 1602: 1598: 1588: 1579: 1577: 1576: 1575:The Alchemist 1570: 1566: 1562: 1558: 1554: 1550: 1546: 1542: 1538: 1534: 1530: 1529: 1524: 1519: 1517: 1513: 1512: 1507: 1506: 1501: 1497: 1496: 1491: 1487: 1486: 1481: 1480: 1474: 1472: 1471: 1466: 1462: 1458: 1454: 1450: 1446: 1442: 1438: 1437:Thomas Davies 1434: 1430: 1429: 1424: 1423: 1406: 1403: 1395: 1385: 1381: 1375: 1374: 1369:This section 1367: 1363: 1358: 1357: 1349: 1347: 1343: 1342:Poets' Corner 1338: 1336: 1331: 1328: 1324: 1320: 1316: 1312: 1308: 1304: 1299: 1297: 1293: 1289: 1288: 1282: 1280: 1274: 1272: 1268: 1264: 1263: 1258: 1257: 1252: 1247: 1243: 1239: 1235: 1225: 1222: 1218: 1213: 1208: 1206: 1202: 1198: 1194: 1190: 1186: 1182: 1178: 1174: 1170: 1166: 1165: 1158: 1156: 1155:Earl of Essex 1152: 1148: 1147:Lord Burghley 1144: 1140: 1136: 1133:charged with 1132: 1126: 1124: 1120: 1116: 1112: 1108: 1104: 1094: 1091: 1087: 1084:, along with 1083: 1079: 1075: 1071: 1070:The Alchemist 1067: 1066: 1061: 1060: 1055: 1054: 1053:The Alchemist 1049: 1048: 1043: 1042: 1037: 1036: 1030: 1028: 1025: 1022: 1017: 1015: 1011: 1007: 1002: 1000: 996: 995:Poet Laureate 992: 987: 985: 981: 978:performed at 977: 976: 971: 966: 964: 960: 956: 952: 951: 946: 945: 936: 932: 927: 923: 920: 916: 912: 911: 906: 905:Privy Council 902: 898: 893: 891: 890: 885: 881: 877: 874:(daughter of 873: 869: 865: 861: 851: 849: 848: 843: 842: 837: 833: 828: 826: 825: 820: 819: 814: 813:Thomas Dekker 810: 809: 808:Histriomastix 804: 800: 796: 792: 791: 785: 783: 779: 778: 773: 769: 768: 763: 759: 758: 752: 750: 746: 745:Thomas Wright 741: 739: 735: 731: 727: 723: 719: 715: 711: 707: 703: 699: 695: 694: 689: 684: 682: 681: 676: 672: 671:Francis Meres 667: 665: 661: 657: 653: 652:Admiral's Men 643: 641: 636: 634: 630: 626: 621: 619: 618:London Bridge 615: 609: 607: 606: 601: 597: 593: 582: 581: 575: 573: 569: 564: 562: 561:single combat 558: 554: 549: 547: 543: 539: 535: 531: 527: 526:Lincoln's Inn 523: 522:Thomas Fuller 519: 514: 512: 508: 504: 500: 496: 493: 489: 486:, historian, 485: 481: 477: 473: 469: 465: 460: 457: 453: 449: 445: 441: 432: 427: 420: 416: 412: 402: 399: 391: 380: 377: 373: 370: 366: 363: 359: 356: 352: 349: – 348: 344: 343:Find sources: 337: 333: 327: 326: 321:This section 319: 315: 310: 309: 301: 300:(1625–1642). 299: 295: 291: 287: 284:Jonson was a 282: 280: 276: 272: 268: 264: 263: 258: 257: 256:The Alchemist 245: 244: 239: 238: 233: 229: 225: 217: 208: 203: 198: 194: 190: 171: 167: 164: 161: 157: 153: 149: 146: 143: 139: 136: 133: 129: 122: 119: 118: 116: 112: 109: 106: 104:Resting place 102: 96: 92: 81: 77: 72: 60: 54: 49: 42: 39: 34: 19: 6058: 6052: 6043: 5981: 5973: 5965: 5957: 5939: 5929: 5919: 5909: 5902: 5899:with Shirley 5892: 5885: 5874: 5864: 5857: 5850: 5840: 5833: 5826: 5805:A Very Woman 5803: 5795: 5788: 5781: 5774: 5767: 5760: 5753: 5746: 5739: 5732: 5723:Fletcher and 5711: 5704: 5697: 5690: 5683: 5676: 5669: 5662: 5655: 5648: 5641: 5634: 5627: 5620: 5613: 5595: 5588: 5581: 5574: 5567: 5560: 5553: 5546: 5539: 5532: 5526:and Fletcher 5512: 5505: 5492:conjectural) 5490:attributions 5477:John Webster 5466: 5437:Nathan Field 5427: 5420: 5413: 5356: 5337: 5329: 5326:(1953 opera) 5321: 5302: 5294: 5278: 5274: 5206:To Penshurst 5172: 5165: 5158: 5151: 5144: 5137: 5130: 5123: 5116: 5109: 5102: 5095: 5088: 5081: 5074: 5067: 5060: 5053: 5046: 5039: 5032: 5025: 5018: 5011: 5004: 4997: 4990: 4983: 4976: 4969: 4962: 4955: 4948: 4941: 4934: 4927: 4904: 4897: 4890: 4883: 4876: 4869: 4862: 4855: 4848: 4841: 4834: 4827: 4822:Eastward Hoe 4820: 4813: 4806: 4799: 4792: 4785: 4778: 4771: 4764: 4745: 4695: 4649:(ChoralWiki) 4624:Find a Grave 4525: 4515: 4505: 4498: 4491: 4484: 4474: 4467: 4460: 4453: 4446: 4439: 4429: 4423: 4401: 4379: 4358: 4328: 4324: 4316: 4306: 4299: 4292: 4285: 4278: 4268: 4261: 4254: 4247: 4236:. 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