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Renaissance Drama Beside:after Shakespeare - 11

The document discusses the significance of Ben Jonson and Shakespeare in English Renaissance drama, highlighting Jonson's classical influences and his unique comedic style. It also mentions other notable playwrights of the period, such as George Chapman and John Webster, who contributed to the diversity of theatrical works. The closing of theatres in 1642 marked the end of this vibrant era of poetic drama.

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14 views2 pages

Renaissance Drama Beside:after Shakespeare - 11

The document discusses the significance of Ben Jonson and Shakespeare in English Renaissance drama, highlighting Jonson's classical influences and his unique comedic style. It also mentions other notable playwrights of the period, such as George Chapman and John Webster, who contributed to the diversity of theatrical works. The closing of theatres in 1642 marked the end of this vibrant era of poetic drama.

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Adrienn
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We take content rights seriously. If you suspect this is your content, claim it here.
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NBB AN233 K2 History of English Literature I DP Lecture 11

(11) The Drama Besides / After Shakespeare: Ben Jonson (and others)

Shakespeare and Jonson – the two giants of English Renaissance drama. Many other
playwrights with great works; yet they remain minor figures compared to Shakespeare and
Jonson. Writing for the theatre was a means of gaining popular acclaim and economic
satisfaction. Acted plays were really influential; the audience was not large enough to make
long runs possible – creating a continuous demand for new plays. Sources of various kinds –
anything allowing the presentation of emotional and physical violence, the absurdities and
wonders of which a passionate man is capable. The period ended in 1642: the closing of the
theatres by the Puritan government; the form of poetic drama developed by the Elizabethans
had by that time completely run its course, there was no further road that way

Ben Jonson (1573-1637): he had a claim on the literary men of his time that Shakespeare did
not have – Jonson’s plays were more amenable for criticism. Shakespeare: largeness of vision,
flexibility of technique, working with the popular dramatic tradition of his time, producing an
English poetic drama which developed its own kind of form and unity, owing nothing to any
external doctrine of correctness. Jonson: more learned, deeply concerned with the classical
precedent. For him the formula came first; the classical model was the source of the formula.
Knowing in advance of the function of comedy, suiting the humour to it. One great example of
the Renaissance Humanist turned dramatist and poet. Also: a rugged Englishman with a
boisterous and even cruel sense of humour. He was characterised by vigour and originality even
when following classical models. His sardonic view of human nature owed nothing to classical
sources; his lyrical gift reflected an important facet of his personality

Every Man In His Humour: comedy of intrigue; adapting the old explanation of human
character by the four humours to develop a comedy of humours. Every Man Out Of His
Humour: explaining his view of this theory in this play. Volpone, or the Fox: his own kind of
satiric comedy; characteristic mixture of savagery and humour, of moral feeling and grim relish
of the monstrous absurdities of which human nature is capable. Bartholomew Fair: the most
expansive of Jonson’s mature satiric comedies and the most English in atmosphere

Masque: courtly entertainment that evolved into a drama-like theatrical genre; it combines
poetic drama, song, dance and music; simple structure. Flourishing of the masque during the
reigns of Henry VIII, Elizabeth I, James I and Charles I. Jonson – principal purveyor of masques
to James I

Also: he was the first dramatist to arrange the publication of his own works – a great effort to
publish definitive editions of his plays and working towards the idea of copyright.

Some other notable playwrights from the period:


George Chapman (ca. 1559-1634): tragedies showing Elizabethan interest in Stoic philosophy.
Some of most interesting and individual plays of period.
John Webster (ca. 1580-1625): motive really unimportant; episodic structure, exploiting the
terror or grandeur or pathos of the moment. The Duchess of Malfi: his best-known play.
Thomas Middleton (ca. 1570-1627): comedies of London life not glorified or romanticised;
witty, sometimes farcical, generally good-natured and full of life. Tragedies as well, mainly in
collaboration with others. Francis
Beaumont (ca. 1584-1616) and John Fletcher (1579-1625): giving up any serious attempt to
grapple with moral problems. New kind of tragicomedy; passion and honour leading to various
NBB AN233 K2 History of English Literature I DP Lecture 11 2

kinds of confusion, resolution brought about by the casting off of disguise or the revelation of
some concealed relationship. Anticipating Restoration drama.
John Ford (1586-ca. 1639): interest in the psychology of frustrated and of illicit love; almost
clinical curiosity about aberrations of love. ’Tis a Pity She’s a Whore: the incestuous love of
brother and sister, death by violence. Normal love already explored; tragedy with new interest
possible this way

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