5. The play's content and style draw upon an aesthetic trend called neoclassicism, a set of rules and habits of composition based on imitation of Greek and Roman classical models for literature. You can see this in the prologue's boast about following the so-called "Aristotelian unities" of place, time and action. Volpone's paen to Celia (III.7) is sung in a voice borrowed from Catullus (#5), the song to "Lesbia" which dares her to defy convention and old men's jealousy to seek the plenitude of pleasure her lover promises. Compare the two. To read a Roman poem Jonson may have had in mind re: "legacy hunting," check out Project Perseus's online version of Horace's satire on the topic (Book II, number 5). (Horace imagines a satiric/comic addition to the scene in Homer's Odyssey Book 12 when Odysseus, in the Underworld, asks the spirit of the prophet Teiresias to tell him how to return home to Ithaka where young bachelors are devouring his household while waiting for his wife to choose one of them.)

o What does Catullus offer and how does it differ from Volpone's deal for Celia?

Those of you who have taken English 215 (Critical Methods) and those who have discovered something of literary criticism's theoretical bases on their own may be ready to start thinking about final papers even now. Imagine how good a paper you could write if you started working on it with six weeks left to go in the semester! Imagine how thoroughly you could think through the argument and polish your own prose. The final paper assignment stipulates only that the topic should be based mainly on one text we've read since the midterm exam and that it also should deal with at least one text from the first half of the semester. (Exceptions might be two sections from a very large work we read after the midterm, like Paradise Lost or Oroonoko.) You can center your analysis on one text, using the other for comparison and contrast, or you can do a balanced analysis of both. You also could refer to more than one subordinate text to help unpack your argument about the main, post-midterm text. Though you may have "hunches" or even full-blown insights about the play that typical audiences would not detect, those hunches and insights all depend on some basic assumptions about how to read plays which you probably have unconsciously absorbed from your previous teachers. Rather than charging at the play's evidence without being aware of your theoretical approach's assumptions, you may benefit from approaching the task of writing with a theory of interpretation in mind. Jonson's social outlook

Ben Jonson's realism relates to his view of the role of artist/poet in society. As a child, he had been fortunate to attend Westminster School, where he came under the influence of the noted historian and antiquarian William Camden. There he embraced the humanist outlook of the Renaissance, which emphasised respect for the dignity and rights of man and the idea that knowledge advanced the human condition.

This was a time of political and social convulsion throughout Europe. The humanist ideas of the Renaissance were followed by the Reformation. Within the framework of the day, Jonson was no radical. Like others, he viewed the absolute monarchy, balanced between the old aristocracy and the emerging capitalist class, as a guarantor of culture against the challenge from parliament and the Puritan church. Along with figures like Sir Francis Bacon, he distrusted parliament as a vehicle for the self-interest of landowners, merchants and their agents.

In his posthumously published writings--Timber: or, Discoveries Made Upon Men and Matter: As they have flow'd out of his daily Readings; or had their refluxe to his peculiar Notion of the Times--Jonson wrote: “Suffrages in Parliament are numbred, not weigh'd: nor can it bee otherwise in those publike Councels, where nothing is so unequall, as the equality: for there, how odde soever mens braines, or wisdomes are, their power is alwayes even, and the same.”

In a Europe that was still struggling to reappropriate the intellectual conquests of the classical civilisations, and where the vast majority had little or no education, Jonson's emphasis on the differing “weight” of people's opinions was at least understandable. In his view, the monarchy provided an environment in which learning and culture could develop. In turn, that enlightened climate would nurture an enlightened and benevolent monarch.

Jonson wrote in Timber: “Learning needs rest: Soveraignty gives it. Soveraignty needs counsell: Learning affords it. There is such a Consociation of offices, betweene the Prince, and whom his favour breeds, that they may helpe to sustaine his power, as hee their knowledge.” He added further on: “A Prince without Letters, is a Pilot without eyes ... And how can he be counsell'd that cannot see to read the best Counsellors (which are books).”

Jonson conceived his role as providing insight into the problems of the day. Thus, he approached society critically. His works are infused with a refusal to sidestep social contradictions. For Jonson, “Truth is mans proper good; and the onely immortall thing, was given to our mortality to use”. His creative function was to express the complexities of life and truth in a form that could be appreciated by the common man.

Jonson's plays challenged the audience to examine the impact of a society governed by deceit and subterfuge. His strength lay in his ability to confront those watching with life as he saw it. In his ability to recreate theatrically the contemporary world and identify both general and specific aspects of the human experience, he was opening new ground that would be further explored in the ensuing centuries.

The Alchemist

Having the good fortune of living in NYC where not one, but two Elizabethan plays are being produced within walking distance of our apartment, Stan and I went to see Ben Johnson's The Alchemist on Saturday afternoon.

The Classic Stage Company takes exactly the opposite approach to the staging the classics as does The Pearl, so it was fun to see these two plays on the same weekend. Philosophically, it appears that the CSC wants to bring out the similarities between early 17th century England and early 21st century USA. With The Alchemist they have found the perfect play. The characters in this very funny production are all looking for the quick buck, easy magic to solve the unsolvable, and generally anything that will feed into their insatiable fantasies. And of course, there are the con artists to take advantage of the gullible. Does this sound familiar? Well, apparently it was familiar in the 17th century as well.

This production is definitely not for traditionalists. It is in the Joanne Akalitis school of direction, although we have Barry Edelstein directing. He has pulled out the motorcycle outfit, the stereo systems and a great flashing Christmas light costume worn by Johann Carlo in her "Queen of Fairy" con. There are chemical reactions of all types and colors in attempts to turn metal to gold, and explosions with lots of smoke. Since we're dealing with a satirical comedy here and not a Shakespearean tragedy, somehow it seems all in good fun.

The Alchemist is about a trio of con artists who decide to make easy cash by turning base metal into gold. Face, a servant whose master has left town to avoid the plague, has turned the house into their "criminal headquarters.” The criminals quickly come up with clients for 5 different cons, each suited to the customer's needs. And, as expected, they are all willing to give over huge amounts of money for anticipated future rewards.

Although I'm not a big fan of using modern equipment in 17th century drama, somehow The Alchemist lends itself to update. I guess the basic greed in humans has not changed all that much over the last 400 years. Certainly, with all the psychic fads, get rich quick schemes and other promises of quick fixes for difficult situations, I'm quite sure a clever alchemist could con many of us very easily even today. Evans, C. Robert. Habits of Mind: Evidence and Effects of Ben Jonson's Reading. Pennsylvania: Bucknell University Press, 1995

Naturally, the language is rich in this play and doesn't lend itself quite as easily to understanding as a Seinfeld episode on a similar subject, however, that's what the theater is all about. We work a little harder to get a much higher level of reward.

The actors give it their all. Jeremy Shamos is continuously changing his costumes as well as character. Dan Castillaneta is terrific as the Alchemist and Johann Carlo is very funny as the tough, scheming 'working woman' of the con. All their pathetic clients come one at a time for their individual scalping. I particularly enjoyed the performances of Michael Showalter as a low clerk, Umit Celebi as Tribulation Wholesome as a pastor and Lee Sellars as Sir Epicure Mammon, a Knight. Jonson, Ben, Brockbank, Philip (Editor). Volpone. New York: W.W. Norton & Company, 1976.

Let's face it. Maybe this would be better in a more traditional style and maybe we should be annoyed with the liberties taken with text and production. However, beggars can't be choosers. When was the last production of The Alchemist in NYC and when will the next one appear? I say thank you to the CSC for presenting this work. I suggest you not wait for perfection, but try to relax and have fun.

Ben Jonson's other comedies

English dramatist, born probably in Westminster, in the beginning of the year 1573 (or possibly, if he reckoned by the unadopted modern calendar, 1572). By the poet's account his grandfather had been a gentleman who came from Carlisle, and originally, the grandson thought, from Annandale. His arms, "three spindles or rhombi", are the family device of the Johnstones of Annandale, a fact which confirms his assertion of Border descent. Ben Jonson further related that he was born a month after the death of his father, who, after suffering in estate and person under Queen Mary, had in the end "turned minister." Two years after the birth of her son the widow married again; she may be supposed to have loved him in a passionate way peculiar to herself, since on one occasion we find her revealing an almost ferocious determination to save his honor at the cost of both his life and her own. Jonson's stepfather was a master bricklayer, living in Hartshorn Lane, near Charing Cross, who provided his stepson with the foundations of a good education. After attending a private school in St. Martin's Lane, the boy was sent to Westminster School at the expense, it is said, of William Camden. Jonson's gratitude for an education to which in truth he owed an almost inestimable debt concentrated itself upon the "most reverend head" of his benefactor, then second and afterwards head master of the famous school, and the firm friend of his pupil in later life.

After reaching the highest form at Westminster, Jonson is stated, but on unsatisfactory evidence, to have proceeded to Cambridge -- according to Fuller, to St. John's College. He says, however, himself that he studied at neither university, but was put to a trade immediately on leaving school. He soon had enough of the trade, which was no doubt his father's bricklaying, for Henslowe in writing to Edward Alleyne of his affair with Gabriel Spenser calls him "bergemen [sic] Jonson, bricklayer." Either before or after his marriage -- more probably before, as Sir Francis Vere's three English regiments were not removed from the Low Countries until 1592 -- he spent some time in that country soldiering, much to his own subsequent satisfaction when the days of self-conscious retrospect arrived, but to no further purpose beyond that of seeing something of the world.

Ben Jonson married not later than 1592. The registers of St. Martin's Church state that his eldest daughter Maria died in November 1593 when she was, Jonson tells us (epigram 22), only six months old. His eldest son Benjamin died of the plague ten years later (epigram 45). A younger Benjamin died in 1635. His wife Jonson characterized to Drummond as "a shrew, but honest"; and for a period (undated) of five years he preferred to live without her, enjoying the hospitality of Lord Aubigny (afterwards duke of Lennox). Long burnings of oil among his books, and long spells of recreation at the tavern, such as Jonson loved, are not the most favored accompaniments of family life. But Jonson was no stranger to the tenderest of affections: two at least of the several children whom his wife bore to him he commemorated in touching little tributes of verse; nor in speaking of his lost eldest daughter did he forget "her mother's tears." By the middle of 1597 we come across further documentary evidence of him at home in London in the shape of an entry in Philip Henslowe's diary (July 28) of 3s. 6d. "received of Bengemenes Johnsones share." He was therefore by this time -- when Shakespeare, his senior by nearly nine years, was already in prosperous circumstances and good esteem -- at least a regular member of the acting profession, with a fixed engagement in the lord admiral's company, then performing under Henslowe's management at the Rose. Perhaps he had previously acted at the Curtain (a former house of the lord admiral's men), and "taken mad Jeronimo's part" on a play-wagon in the highway. This latter appearance, if it ever took place, would, as was pointed out by Gifford, probably have been in Thomas Kyd's Spanish Tragedy, since in The First Part of Jeronimo Jonson would have had, most inappropriately, to dwell on the "smallness" of his "bulk." He was at a subsequent date (1601) employed by Henslowe to write up The Spanish Tragedy, and this fact may have given rise to Wood's story of his performance as a stroller. Jonson's additions, which were not the first changes made in the play, are usually supposed to be those printed with The Spanish Tragedy in the edition of 1602; Charles Lamb's doubts on the subject, which were shared by Coleridge, seem an instance of that subjective kind of criticism which it is unsafe to follow when the external evidence to the contrary is so strong.

According to Aubrey, whose statement must be taken for what it is worth, "Jonson was never a good actor, but an excellent instructor." His physique was certainly not well adapted to the histrionic conditions of his -- perhaps of any -- day; but, in any case, it was not long before he found his place in the organism of his company. In 1597, as we know from Henslowe, Jonson undertook to write a play for the lord admiral's men; and in the following year he was mentioned by Meres in his Palladis Tamia as one of "the best for tragedy", without any reference to a connection on his part with the other branch of the drama. Whether this was a criticism based on material evidence or an unconscious slip, Ben Jonson in the same year 1598 produced one of the most famous of English comedies, Every Man in his Humour, which was first acted -- probably in the earlier part of September -- by the lord chamberlain's company at the Curtain. Shakespeare was one of the actors in Jonson's comedy, and it is in the character of Old Knowell in this very play that, according to a bold but ingenious guess, he is represented in the half-length portrait of him in the folio of 1623, beneath which were printed Jonson's lines concerning the picture. Every Man in his Humour was published in 1601; the critical prologue first appears in the folio of 1616, and there are other divergences. After the Restoration the play was revived in 1751 by David Garrick (who acted Kitely) with alterations, and long continued to be known on the stage. It was followed in the same year by The Case is Altered, acted by the children of the queen's revels, which contains a satirical attack upon the pageant poet, Anthony Munday. This comedy, which was not included in the folio editions, is one of intrigue rather than of character; it contains obvious reminiscences of Shylock and his daughter. The earlier of these two comedies was indisputably successful.

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