By Tom Lockwood
Tom Lockwood's examine is the 1st exam of Jonson's position within the texts and tradition of the Romantic age. half one of many ebook explores theatrical, severe, and editorial responses to Jonson, together with his position within the post-Garrick theatre, serious estimations of his lifestyles and paintings, and the politically charged making and reception of William Gifford's 1816 version of Jonson's Works. half explores allusive and imitative responses to Jonson's poetry and performs within the writings of Samuel Taylor Coleridge, and explores how Jonson serves variously as a version wherein to degree the poet laureate, Robert Southey, and Coleridge's eldest son, Hartley. The advent and end find this "Romantic Jonson" opposed to his eighteenth-century and Victorian re-creations. Ben Jonson within the Romantic Age indicates us a diverse, cellular, and contested Jonson and provides a clean standpoint at the Romantic age.
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Additional info for Ben Jonson in the Romantic Age
28 When Siddons spoke out in her Reminiscences, she declared that Garrick’s ‘chief object in his exaltation of poor me . . was the mortification and irritation of Mrs . 29 Silenced, she found herself a piece in another’s game, just as Epicœne is, finally, a part only of Dauphine’s strategy in Jonson’s play. 30 In January 1776, Siddons’s Epicœne must have created conditions of understanding in which such casual misogyny as is performed and satirized in Jonson’s play was brought up against the actuality of the staged female body within a discourse of acquisition and service.
42 Epicoene (1776), sig. A4r , lines 21–6. 43 The Town and Country Magazine; or, Universal Repository of Knowledge, Instruction, and Entertainment, 6 (1775), 726–7. 44 The copy of the 1640 folio of Jonson’s Workes now at the Folger Shakespeare Library, Washington, DC (shelfmark STC 14753 Copy 7) belonged not to R. B. 45 Clerimont, via Epicœne, and Pliant, via The Alchemist, are both Jonsonian names; even Surface recalls Face in The Alchemist. But, more strongly, the dramatic architecture Act IV, scene 3, in The School for Scandal, the ‘Screen Scene’, recalls the intricately timed plotting of Jonson’s major Jacobean comedies: Lady Teazle hidden behind the screen and Sir Peter moved off-stage into the closet by the stage-managing Joseph Surface invoke Mosca shuffling suitors in Volpone, and Face distributing dupes in The Alchemist.
What was the relation, I want to ask, between the mainpiece at Drury Lane on the evening of 13 January 1776 (Colman’s Epicœne) and its afterpiece (Garrick’s The Jubilee)? What led John Philip Kemble to pair Every Man In his Humour at Covent Garden on 26 December 1810 with the first performance of the pantomime Harlequin & Asmodeus; or, Cupid on Crutches? The decision in the one case failed (Colman’s adaptation, after 9 Jonathan Miller, Subsequent Performances (London: Faber, 1986), 23–8. Davies, Dramatic Miscellanies, ii.