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reluctant to become a
Spanish countess but is vigorously persuaded by her brother to go off with Surly. The tricksters need to get rid of Mammon. Dol contrives a fit and there is an 'explosion' from the 'laboratory'. In addition, the lady's furious brother is hunting for Mammon, who leaves. Surly reveals his true identity to Dame Pliant and hopes that she will look on him favourably as a consequence. Surly reveals his true identity to Face and Subtle, and denounces them. In quick succession Kastril, Drugger and Ananias return, and are set on Surly, who retreats. Drugger is told to go and find a Spanish costume if he is to have a chance of claiming the widow. Dol brings news that the master of the house has returned.
285:. The play's end sees Subtle and Dol resume their original pairing, while Face resumes his role as housekeeper to a wealthy master. Significantly, none of the three is severely punished (the collapse of their scheme aside). Jonson's theatrical microcosm is not a neatly moral one; and he seems to enjoy seeing foolish characters like Epicure Mammon get their comeuppance. This is why, while London itself is a target of Jonson's satire, it is also, as his Prologue boasts, a cozening-ground worth celebrating: "Our scene is London, 'cause we would make known/No country’s mirth is better than our own/No clime breeds better matter for your whore...”
215:. Dol breaks the pair apart and reasons with them that they must work as a team if they are to succeed. Their first customer is Dapper, a lawyer's clerk who wishes Subtle to use his supposed necromantic skills to summon a "familiar" or spirit to help in his gambling ambitions. The tripartite suggest that Dapper may win favour with the "Queen of Fairy", but he must subject himself to humiliating rituals in order for her to help him. Their second gull is Drugger, a tobacconist, who is keen to establish a profitable business. After this, a wealthy nobleman, Sir Epicure Mammon, arrives, expressing the desire to gain himself the
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Drugger is given to understand that the appropriate payment might secure his marriage to the widow. Dapper is blindfolded and subjected to 'fairy' humiliations; but on the reappearance of Mammon, he is gagged and hastily thrust into the privy. Mammon is introduced to Dol. He has been told that Dol is a nobleman's sister who has gone mad, but he is not put off, and pays her extravagant compliments. Kastril and his sister come again. Kastril is given a lesson in quarrelling, and the widow captivates both Face and Subtle. They quarrel over who is to have her.
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313:, Jonson subverts this tradition. Face's master, Lovewit, at first seems to assert his social and ethical superiority to put matters to rights. But when Face dangles before him the prospect of marriage to a younger woman, his master eagerly accepts. Both master and servant are always on the lookout for how to get ahead in life, regardless of ethical boundaries. Lovewit adroitly exploits Mammon's reluctance to obtain legal certification of his folly to hold on to the old man's money.
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social backgrounds, who hold different professions and different beliefs, but whose lowest common denominator – gullibility – grants them equal victim-status in the end. Dapper, the aspirant gambler, loses his stake; Sir
Epicure Mammon loses his money and his dignity; Drugger, the would-be businessman, parts with his cash, but ends up no nearer to the success he craves; the Puritan duo, Tribulation and Ananias, never realise their scheme to counterfeit Dutch money.
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victims. Their fate is foreshadowed in the play's opening scene, which features them together in the house of
Lovewit, Face's master. In a metaphor which runs through the play, the dialogue shows them to exist in uneasy imbalance, like alchemical elements that will create an unstable reaction. Barely ten lines into the text, Face and Subtle's quarrelling forces Doll to quell their raised voices: "Will you have the neighbours hear you? Will you betray all?”
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chewed through his gag. Jeremy can no longer maintain his fiction. He promises
Lovewit that if he pardons him, he will help him obtain himself a rich widow (i.e., Dame Pliant). Dapper meets the "Queen of Fairy" and departs happily. Drugger delivers the Spanish costume and is sent to find a parson. Face tells Subtle and Dol that he has confessed to Lovewit, and that officers are on the way; Subtle and Dol have to flee, empty handed.
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273:(a man accustomed to giving orders, instead of taking them), the egotistical Subtle casts himself as an alchemist (as one who can do what no one else can; turn base metal into gold), and Dol Common casts herself as an aristocratic lady. Their incessant bickering is fuelled by vanity, envy and jealousy, the root of which is Subtle's conviction that he is the key element in the 'venture tripartite':
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227:, and demands that he should return with a more senior member of his sect (Tribulation). Drugger returns and is given false and ludicrous advice about setting up his shop; he also brings news that a rich young widow (Dame Pliant) and her brother (Kastril) have arrived in London. Both Subtle and Face in their greed and ambition seek out to win the widow.
255:, Jonson unashamedly satirises the follies, vanities and vices of mankind, most notably greed-induced credulity. People of all social classes are subject to Jonson's ruthless, satirical wit. He mocks human weakness and gullibility to advertising and to "miracle cures" with the character of Sir Epicure Mammon, who dreams of drinking the
382:, who appear to have performed it with some frequency during their first years in operation. The play is not known to have been performed between 1675 and 1709, but the frequency of performance after 1709 suggests that it probably was. Indeed, the play was frequently performed during the eighteenth century; both
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is also anti-Puritan.) Tellingly, of all those gulled in the play, it is the
Puritans alone whom Jonson denies a brief moment of his audience's pity; presumably, he reckons their life-denying self-righteousness renders them unworthy of it. Jonson consistently despises hypocrisy, especially religious
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in his offstage workroom, but all the characters in the play are overly-concerned with projection of a different kind: image-projection. The result, in structural terms, is an onstage base of operations in Friars, to which can be brought a succession of unconsciously comic characters from different
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Jonson's play reflects this new confidence. In it, he applies his classical conception of drama to a setting in contemporary London for the first time, with invigorating results. The classical elements, most notably the relation between
Lovewit and Face, are fully modernised; likewise, the depiction
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The
Anabaptists return and agree to pay for goods to be transmuted into gold. These are in fact Mammon's goods. Dapper returns and is promised that he shall meet with the Queen of Fairy soon. Drugger brings Kastril who, on being told that Subtle is a skilled match-maker, rushes to fetch his sister.
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The victims come back again. Lovewit has married the widow and claimed Mammon's goods; Surly and Mammon depart disconsolately. The
Anabaptists and Drugger are summarily dismissed. Kastril accepts his sister's marriage to Lovewit. Lovewit pays tribute to the ingenuity of his servant, and Face asks
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hypocrisy that couches its damning judgments in high-flown language. Tribulation and
Ananias call their fellow men "heathens" and in one case, say that someone's hat suggests "the Anti-Christ". That these Puritans are just as money-hungry as the rest of the characters is part of the ironic joke.
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Lovewit's neighbours tell him that his house had many visitors during his absence. Face is now the plausible Jeremy again, and denies the accusation—-he has kept the house locked up because of the plague. Surly, Mammon, Kastril and the
Anabaptists return. There is a cry from the privy; Dapper has
223:. He is promised the philosopher's stone and promised that it will turn all base metal into gold. Surly however, suspects Subtle of being a thief. Mammon accidentally sees Dol and is told that she is a Lord's sister who is suffering from madness. Subtle contrives to become angry with Ananias, an
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An outbreak of plague in London forces a gentleman, Lovewit, to flee temporarily to the country. He leaves his house under the sole charge of his butler, Jeremy. Jeremy uses the opportunity given to him to use the house as the headquarters for fraudulent acts. He transforms himself into "Captain
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focuses on what happens when one human being seeks advantage over another. In a big city like London, this process of advantage-seeking is rife. The trio of con-artists – Subtle, Face and Doll – are self-deluding small-timers, ultimately undone by the same human weaknesses they exploit in their
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Surly returns, disguised as a Spanish nobleman. Face and Subtle believe that the Spaniard speaks no English and they insult him. They also believe that he has come for a woman, but Dol is elsewhere in the building 'engaged' with Mammon, so Face has the inspiration of using Dame Pliant. She is
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held that Jonson had been influenced by Tomkis's academic comedy. Dryden may have mentioned Jonson to increase interest in a somewhat obscure play he was then reviving; he may also have been confused about the dates. At any rate, the question of influence now runs the other way.
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The play opens with a violent argument between Subtle and Face concerning the division of the riches which they have, and will continue to gather. Face threatens to have an engraving made of Subtle with a face worse than that of the notorious highwayman
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staged a fast-paced, nearly farcical production in 1961; Gerard Larson played Face, and Nagle Jackson Face, under Edward Brubaker's direction. The performance received generally favourable reviews; however, a 1973 production set in the
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premiered at Oxford in 1610, with performance in London later that year. Its success may be indicated by its performance at court in 1613 and again in 1623. Evidence of a more ambiguous kind is presented by the case of
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in Washington, DC. Another contemporary dress production was directed by Tariq Leslie and produced by the Ensemble Theatre Co-operative at the Jericho Arts Centre, Vancouver, Canada in the summer of 2012.
175:, was already a teenager. The theatres had survived the challenge mounted by the city and religious authorities; plays were a regular feature of life at court and for a great number of Londoners.
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The Southwest Shakespeare Company offered three performances in April 2023 at Taliesen West in Scottsdale, Arizona. The play was presented in the form of a 1940s radio play.
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After this period of flourishing, the play fell into desuetude, along with nearly all non-Shakespearean Renaissance drama, until the beginning of the twentieth century.
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were notable successes in the role of Drugger, for whom a small amount of new material, including farces and monologues, in the latter half of the century was created.
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Internal references indicate that the play was written for performance at Blackfriars; ironically, given its initial scenario, plague forced the company to tour, and
363:'s "L'Astrologo"; however, both the similarity in subject matter and Tomkis's apparent familiarity with commercial dramaturgy make it possible that he was aware of
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The con-artists' vanities and aspirations are revealed by the very personae they assume as part of their plan. The lowly housekeeper, Face, casts himself as a
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Jonson reserves his harshest satire for these Puritan characters—perhaps because the Puritans, in real life, wished to close down the theatres. (Jonson's play
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In many English and European comedies, it is up to a high-class character to resolve the confusion that has been caused by lower-class characters. In
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as a winter playhouse because of objections from the neighbourhood's influential residents. Some time between 1608 and 1610, the company, now the
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of Jacobean London is given order and direction by the classical understanding of comedy as a means to expose vice and foolishness to ridicule.
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219:, which he believes will bring him huge material and spiritual wealth. He is accompanied by Surly, a sceptic and debunker of the whole idea of
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The venue for which Jonson apparently wrote his play reflects this newly solid acceptance of theatre as a fact of city life. In 1597, the
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as "Face", Hywel Morgan as "Lovewit", Siobhan McSweeney as "Dol" and Mark Lockyer as "Subtle" was scheduled to open at London's
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setting did not; the setting was generally considered inconsistent with the tone and treatment of the play.
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believed that it had one of the three most perfect plots in literature. The play's clever fulfilment of the
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FACE: 'Tis his fault. He ever murmurs and objects his pains, and says the weight of all lies upon him.
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and vivid depiction of human folly have made it one of the few Renaissance plays (except the works of
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is tightly structured, based around a simple dramatic concept. Subtle claims to be on the verge of
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in the central roles, from September to November 2006. A contemporary dress production directed by
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The Anti-Christ's Lewd Hat: Protestants, Papists & Players in Post-Reformation England
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produced the play in 1899. This opening was followed a generation later by productions at
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in 1961. Eric Martin's set was considered "original, simple, serviceable, brilliant".
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Face", and enlists the aid of Subtle, a fellow conman, and Dol Common, a prostitute.
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for the audience's forgiveness. Jeremy now left alone to describe the epilogue.
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Ouellette, Anthony. "The Alchemist and the Emerging Adult Private Playhouse".
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has scheduled an "Original Practices" performance for its summer 2022 season.
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who had transformed drama in the Elizabethan period remained alive (this was
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182:(a.k.a. the King's Men) had been denied permission to use the theatre in
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Mark Mirsky directed with "lusty zest" a performance at Harvard's
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was among the first plays chosen for performance at the theatre.
652:"Cast and creatives | The Alchemist | Royal Shakespeare Company"
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premiered 34 years after the first permanent public theatre (
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The Entertainment of the Kings of Great Britain and Denmark
704:. 2nd edition; Cambridge: Cambridge University Press, 1996.
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as Subtle, Jonathan Goad as Face and Brigit Wilson as Dol.
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as a "greasy, misanthropic" Face, in a version adapted by
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The 'venture tripartite' is as doomed as one of the Roman
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A Private Entertainment of the King and Queen on May-Day
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Acting Companies and Their Plays in Shakespeare's London
587:"The Alchemist | News | the Harvard Crimson"
367:, and may have been responding to the play's success.
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Jericho Arts Centre website www.jerichoartscentre.com
378:, it belonged to the repertory of the King's Men of
536:A quarto of the play appeared in 1612 published by
510:production directed by Polly Findlay and featuring
443:produced a modernised version at the Old Vic, with
495:'s 2015 season included a production directed by
350:in 1615. A tradition apparently originating with
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695:Jonson's Magic Houses: Essays in Interpretation
1176:News from the New World Discovered in the Moon
562:The play is discussed in Margaret Cavendish's
417:played Drugger, alongside Richardson as Face.
1211:Time Vindicated to Himself and to His Honours
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325:A scene from a Los Angeles theatre production
723:SEL: Studies in English Literature 1500–1900
605:, archived from the original on 5 July 2012
1218:Neptune's Triumph for the Return of Albion
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374:during the Commonwealth period; after the
259:and enjoying fantastic sexual conquests.
98:as Abel Drugger in Jonson's The Alchemist
78:Learn how and when to remove this message
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41:This article includes a list of general
1085:The Speeches at Prince Henry's Barriers
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1127:Mercury Vindicated from the Alchemists
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714:Lake, Peter, with Michael Questier.
1078:The Entertainment at Britain's Burse
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1253:The King's Entertainment at Welbeck
1232:The Fortunate Isles and Their Union
1099:Love Freed from Ignorance and Folly
483:opened the 2009/2010 season at the
413:in 1947. In the latter production,
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1113:A Challenge at Tilt, at a Marriage
702:Play-going in Shakespeare's London
670:"The Alchemist | Aug 2, 2022"
120:is a comedy by English playwright
47:it lacks sufficient corresponding
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1239:Love's Triumph Through Callipolis
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688:Ben Jonson: The Critical Heritage
467:. The original was played at the
124:. First performed in 1610 by the
1225:The Masque of Owls at Kenilworth
1183:The Entertainment at Blackfriars
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697:. Oxford: Clarendon Press, 1997.
370:The play continued onstage as a
359:is, primarily, an adaptation of
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718:. Yale University Press, 2002.
19:For similarly named works, see
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493:Stratford Shakespeare Festival
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1162:Pleasure Reconciled to Virtue
711:. London: Arden, 2014.112-20.
523:Colorado Shakespeare Festival
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1319:Sons of Ben (literary group)
1029:The Entertainment at Althorp
922:Epicœne, or The Silent Woman
455:'s 1977 production with the
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1314:English Renaissance theatre
1071:The Hue and Cry After Cupid
880:Every Man out of His Humour
794:public domain audiobook at
779:The Alchemist audio edition
763:The Alchemist
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544:and sold by John Stepneth.
485:Shakespeare Theatre Company
429:Oregon Shakespeare Festival
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1260:Love's Welcome at Bolsover
768:Internet Broadway Database
690:. London: Routledge, 1999.
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21:Alchemist (disambiguation)
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16:Play written by Ben Jonson
1345:English Renaissance plays
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1197:The Gypsies Metamorphosed
1120:The Irish Masque at Court
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457:Royal Shakespeare Company
399:Elizabethan Stage Society
1092:Oberon, the Faery Prince
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361:Giambattista della Porta
1169:For the Honour of Wales
1134:The Golden Age Restored
1036:The Masque of Blackness
936:Catiline His Conspiracy
873:Every Man in His Humour
130:Samuel Taylor Coleridge
62:more precise citations.
1015:The Coronation Triumph
978:Rollo Duke of Normandy
469:Royal National Theatre
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180:Lord Chamberlain's Men
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1355:Fiction about alchemy
1148:The Vision of Delight
1141:Christmas, His Masque
559:(composed by Handel).
518:on 2 September 2016.
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93:
1204:The Masque of Augurs
1064:The Masque of Queens
1057:The Masque of Beauty
554:Incidental music to
1360:Plays set in London
1340:Plays by Ben Jonson
950:The Devil Is an Ass
859:The Case is Altered
532:Publication history
477:Simon Russell Beale
217:philosopher's stone
957:The Staple of News
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113:
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1309:Ben Jonson folios
1278:On My First Sonne
1190:Pan's Anniversary
997:
992:Mortimer His Fall
971:The Magnetic Lady
756:Project Gutenberg
707:Keenan, Siobhan.
658:on 25 April 2016.
565:The Blazing World
422:Loeb Drama Center
134:classical unities
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985:The Sad Shepherd
943:Bartholomew Fair
901:Sejanus His Fall
887:Cynthia's Revels
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461:Ian McKellen
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964:The New Inn
453:Trevor Nunn
451:as Mammon.
411:The Old Vic
376:Restoration
271:sea captain
184:Blackfriars
169:Interregnum
157:The Theatre
138:Shakespeare
109: 1770
60:introducing
1350:1610 plays
1334:Categories
996:(fragment)
832:Ben Jonson
725:45 (2005).
445:Leo McKern
293:projection
225:Anabaptist
188:King's Men
148:Background
126:King's Men
122:Ben Jonson
43:references
1246:Chloridia
894:Poetaster
512:Ken Nwosu
459:featured
439:In 1962,
434:Wild West
357:Albumazar
348:Cambridge
340:Albumazar
1285:To Celia
1043:Hymenaei
796:LibriVox
618:citation
548:See also
247:Analysis
202:Synopsis
1302:Related
1006:Masques
915:Volpone
766:at the
681:Sources
568:(1666).
471:, with
403:Malvern
221:alchemy
56:improve
609:8 July
506:A new
352:Dryden
45:, but
1270:Poems
844:Plays
836:works
573:Notes
499:with
372:droll
624:link
611:2012
521:The
491:The
475:and
427:The
386:and
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397:'s
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251:In
100:by
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