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Ben Jonson Bibliography

Ben Jonson (1572-1637)

     (English dramatist and poet, b. Westminster, orphaned son of a Protestant minister, st. Westminster School, left Cambridge without a degree, apprenticed as bricklayer to father-in-law; volonteer in Flanders army 1592, killed enemy in single combat, actor in London c. 1594, imprisoned for manslaughter, converted to Catholicism for some time, married 1594, children died; returned to Anglicanism 1606; pensioned by the King 1616; honorary MA Oxford 1619; poet for aristocratic patrons, apologist of Stuart royalty; neoclassical theorist and literary authority, overweight and hard drinker)



Jonson, Ben. Every Man in his Humour. Comedy. Acted 1596, rev. version acted at Blackfriars, 1598.
_____. Every Man In His Humour. London: Walter Burre, 1601.
_____. Every Man in His Humour. In Jonson, Works. 1616.
_____. Every Man in his Humour. Ed. Herford and Simpson.
_____. Every Man in His Humour. (Revels series). Ed. Robert S. Miola.
_____. The Case Is Altered. Comedy. 1598. (Vs Munday, "Don Antonio Ballendino").
_____. Prologue to Every Man in his Humour. Folio ed., 1616.
_____. ? The Scottes Tragedy. Drama. 1599. (Lost).
Jonson, Ben, Thomas Dekker, and Henry Chettle. Robert the Second, King of Scottes. Drama.   c. 1599. (Lost).
Chettle, Henry, Henry Porter and Ben Jonson. Hot Anger soon Cold. Drama. August 1598. Not printed.
Nashe, Thomas, Ben Jonson, et al. The Isle of Dogs. Drama. 1597. (Lost).


Jonson, Ben. Cynthia's Revels. Drama. Acted at Whitehall and Blackfriars, 1600.
_____. Cynthia's Revels. Ed. C. H. Herford and Percy Simpson. Oxford: Clarendon Press, 1932.
_____. Every Man Out of His Humour. Comedy. Staged Globe theatre, 1600.
_____. Every Man Out of His Humour. Online at Project Gutenberg.*
_____. Prologue to Every Man Out of His Humour. 1600. Select. in Literary Criticism from Plato to Dryden. Ed. Gilbert. 537-38.
_____. "Queen and Huntress."  Poem. 1600. In The Norton Anthology of English Literature. 7th ed. Ed. M. H. Abrams, Stephen Greenblatt et al. New York: Norton, 1999. 1.1413-14.
_____. "Slow, Slow, Fresh Fount." Poem. 1600.  In The Norton Anthology of English Literature. 7th ed. Ed. M. H. Abrams, Stephen Greenblatt et al. New York: Norton, 1999. 1.1413.*
_____. The Poetaster. Comedy. Acted at Blackfriars, 1601.
_____. Poetaster. Ed Tom Cain. Manchester: Manchester UP, 1995. 1996.
_____. Rev. version of Jeronymo for Henslowe. 1601.
_____. Richard Crook-Back. Tragedy. 1602. (Lost).
_____. Sejanus His Fall. Tragedy (in collaboration with anon. author). Produced by the King's Men, Globe theatre, 1603. Rev. version by Ben Jonson 1605. (Political play, in support of the  Earl of Essex).
_____. "To the Readers of Sejanus." 1605. In Criticism from Plato to Dryden. Ed. Gilbert. 538-49.*
_____. "To the Readers." In Sejanus, His Fall. 1605. In Writing and the English Renaissance. Ed. William Zunder and Suzanne Trill. Harlow (Essex): Longman, 1996. 265-66.*
_____. Panegyric on the First Meeting of Parliament. c. 1604.
_____. The Masque of Blackness. Acted 1605. In The Norton Anthology of English Literature. 7th ed. Ed. M. H. Abrams, Stephen Greenblatt et al. New York: Norton, 1999. 1.1294-1303.*
_____. Hymenaei. Masque. First performed 1606.
_____. Volpone. Comedy. First performed King's Men, Globe Theatre, 1606. Acted 1606 at Oxford and Cambridge.
_____. Volpone. Quarto, 1607.
_____. Volpone. In Works, 1616.
_____. Volpone. Ed. Jonas Barish. Arlington Heights (IL): AHM, 1958.
_____. Volpone or the Fox /Volpone o el zorro. Bilingual ed. Ed. and trans. A. Sarabia Santander. Barcelona: Bosch, 1980.
_____. Volpone. In Jonson,Volpone and Other Plays. Ed. Lorna Hutson. (Renaissance Dramatists). Harmondsworth: Penguin, 1998.
_____. Volpone.  In The Norton Anthology of English Literature. 7th ed. Ed. M. H. Abrams, Stephen Greenblatt et al. New York: Norton, 1999. 1.1303-93.*
_____. Volpone, or the Fox. Online at Project Gutenberg.
_____. Volpone. In English Renaissance Drama: A Norton Anthology. Ed. David Bevington et al. New York and London: Norton, 2002. 673-64.*
_____. Volpone. Ed. and trans. Purificación Ribes. (Letras Universales). Madrid: Cátedra, 2002.
_____. Dedicatory Epistle of Volpone. 1606. In The Personal Note. Ed. H. J. C. Grierson and S. Wason. London: Chatto, 1946. 38-41.
_____. "Dedication to Volpone." In Literary Criticism and Theory. Ed. R. C. Davis and L. Finke. London: Longman, 1989. 234-37.*
_____. The Masque of Whiteness. c. 1607.
_____. Masque of Beauty. 1608.
_____. "Still to Be Neat." Poem. 1609.  In The Norton Anthology of English Literature. 7th ed. Ed. M. H. Abrams, Stephen Greenblatt et al. New York: Norton, 1999. 1.1414.*
_____. Britain's Burse. Drama. 1609.
_____. Speeches at Prince Henry's Barriers. 1609.  (Allegorical tournament-entertainment).
_____. Epicoene: Or, The Silent Woman. Comedy. 1609-10.
_____. Epicene. In English Renaissance Drama: A Norton Anthology. Ed. David Bevington et al. New York and London: Norton, 2002. 775-860.*
_____. The Key Keeper: An Entertainment at Britain's Burse. Masque. 1609. Ed. John Knowles. Forthcoming 1997.
_____. The Entertainment at Britain's Burse. Masque. Written 1609. 1st ed. in Re-Presenting Ben Jonson: Text, Performance, History. Ed. Martin Butler. Houndmills: Macmillan, 1999.
_____. The Masque of Queens. 1609.
Jonson, Ben, John Marston and George Chapman. Eastward Ho! Comedy. 1605.
_____. Eastward Ho! Edited by C. G. Petter.  (The New Mermaids). Benn, 1973.


_____. Barriers. 1610.
_____. The Alchemist. Comedy. c. 1610.
_____. The Alchemist.  Ed. F. H. Mares. London: Methuen.
_____. The Alchemist. Ed. Peter Bement. London: Routledge, 1987.
_____. The Alchemist. In The Alchemist and Other Plays. Ed. Gordon Campbell. Oxford: Oxford UP, 1995.
_____. The Alchemist. In English Renaissance Drama: A Norton Anthology. Ed. David Bevington et al. New York and London: Norton, 2002. 861-960.*
_____. Preface to The Alchemist. 1612.
_____. Oberon the Fairy Prince. Masque. 1611.
_____. Catiline His Conspiracy. Tragedy. Pub. 1611.
_____. Love Restored. Masque. 1612.
_____. A Challenge at Tilt. Drama. 1613.
_____. "Induction" to Bartholomew Fair. 1614.
_____. "Ben Jonson on The Tempest (and Titus Andronicus) (1614)." In The Norton Shakespeare. Ed. Stephen Greenblatt et al. New York: Norton, 1997. 3341.*
_____. The Devil is an Ass. Drama. 1616.
_____. Lovers Made Men. Masque. 1617.
_____. Bartholomew Fair. Comedy. 1614.
_____. Bartholomew Fair. Ed. Maurice Hussey. London: Benn, 1964.
_____. Bartholomew Fair. In English Renaissance Drama: A Norton Anthology. Ed. David Bevington et al. New York and London: Norton, 2002. 961-1066.*
_____. The Devil's an Ass. Comedy. 1616.
_____. Mercury Vindicated from the Alchemists in Court. Masque. 1616.
_____. The Workes of Beniamin Jonson. Imprinted at London: By Will Stansby, 1616.  (Folio; Contains: Comedies, Tragedies, Masques,  Epigrams, and The Forest poems).
_____. "On My First Son." Poem. In Perrine's Literature: Structure, Sound, and Sense. By Thomas R. Arp and Greg Johnson. 8th ed. Boston (MA): Thomson Learning-Heinle & Heinle, 2002. 764.*
_____. From Epigrams. 1616. ("To My Book", "On Something, That Walks Somewhere," "To William Camden," "On My Fist Daughter," "To John Donne," "On Don Surly," "On Giles and Joan," "On My First Son," "On Lucy, Countess of Bedford," "To Lucy, Countess of Bedford, with Mr. Donne's Satires," "Inviting a Friend to Supper," "Epitaph on S.P., a Child of Queen's Elizabeth Chapel.").  In The Norton Anthology of English Literature. 7th ed. Ed. M. H. Abrams, Stephen Greenblatt et al. New York: Norton, 1999. 1.393-99.*
_____. From The Forest. 1616. ("To Penshurst," "Song: To Celia," "To Heaven").  In The Norton Anthology of English Literature. 7th ed. Ed. M. H. Abrams, Stephen Greenblatt et al. New York: Norton, 1999. 1.1399-1403.*
_____. "Song: To Celia." In Perrine's Literature: Structure, Sound, and Sense. By Thomas R. Arp and Greg Johnson. 8th ed. Boston (MA): Thomson Learning-Heinle & Heinle, 2002. 1064-65.*
_____. Pleasure Reconciled to Virtue. Masque. 1618.
_____. Conversations with Drummond. 1619.
_____, ed. History of the World. By Sir Walter Ralegh. 1614.
Jonson, Ben, and Inigo Jones. Oberon. Masque. 1611.


Jonson, Ben. Conversations with William Drummond of Hawthornden. In Ben Jonson (The Oxford Authors) 595-612.
_____. The Gipsies Metamorphosed. Masque. 1621.
_____. Time Vindicated. 1623.
_____. "To the Reader." Prefatory poem to the First Folio of Shakespeare's plays. 1623. Facsimile. In The Norton Shakespeare. Ed. Stephen Greenblatt et al. New York: Norton, 1997. 3346.*
_____. "To the Memory of my Beloved, The Author, Mr. William Shakespeare, and What He Hath Left Us." In Mr. William Shakespeares  Comedies, Histories, & Tragedies. (First Folio). London,1623.
_____. "To the memory of my beloued, the avthor Mr. William Shakespeare: And what he hat left vs." Prefatory poem to the First Folio of Shakespeare's plays. 1623. Facsimile. In The Norton Shakespeare. Ed. Stephen Greenblatt et al. New York: Norton, 1997. 3351-52.*
_____. "To the memory of my beloved, the author, Mr. William Shakespeare, and what he hath left us." In The Works of Ben Jonson, vol. 3. London: Chatto & Windus, 1910. 287-9. Luminarium
_____. "To the Memory of My Beloved, the Author." 1623. In Shakespeare Criticism: A Selection 1623-1840. London: Oxford UP, 1946. 3-5.
_____. "To the Memory of my Beloved, The Author, Mr. William Shakespeare, and What He Hath Left Us."  1623. In The Norton Anthology of English Literature. 7th ed. Ed. M. H. Abrams, Stephen Greenblatt et al. New York: Norton, 1999. 1.1414-16.*
_____. Neptune's Triumph for the Return of Albion. Masque. 1624.
_____. The Fortunate Isles. 1625.
_____. The Staple of Newes. Comedy. 1626.
_____. Anti-Masque of Jophiel. 1627.
_____. "To the Immortal Memory and Friendship of that Noble Pair, Sir Lucius Cary and Sir H. Morison." Ode. 1629, pub. 1640-41.  In The Norton Anthology of English Literature. 7th ed. Ed. M. H. Abrams, Stephen Greenblatt et al. New York: Norton, 1999. 1.1.1609-13.*
Heminge, John, Henry Condell, Ben Jonson, et al. "Front Matter from the First Folio of Shakespeare's Plays (1623)." Facsimiles. In The Norton Shakespeare. Ed. Stephen Greenblatt et al. New York: Norton, 1997. 3345-57.*


Jonson, Ben. The New Inn. Comedy. 1630. Printed in 1631 octavo; omitted from the 1640 folio. Included in 1692 folio.
_____. "Ode (To Himself)." The Oxford Book of Seventeenth Century Verse. Ed. H. J. C. Grierson and G. Bullough. Oxford: Clarendon Press, 1934. 179-180.
_____. "Ode (To Himself)." Luminarium.*
_____. "Expostulation with Inigo Jones." 1631.
_____. Love's Triumph Through Callipolis. Masque. Acted 1631..
_____. Chloridia. Masque. 1631.
_____. "Ode to Himself." 1631, 1640-41. 
_____. "An Ode to Himself." In The Songs and Poems of Ben Jonson. London: Philip Allan & Co., 1924. 59-60.
_____. "Ode to Himself." In The Norton Anthology of English Literature. 7th ed. Ed. M. H. Abrams, Stephen Greenblatt et al. New York: Norton, 1999. 1.1416-18.*
_____. "An Ode to Himself." Luminarium
_____. The Magnetic Lady. Comedy. 1632.
_____. Tale of a Tub. Drama. 1633.
_____. "Induction" to The Magnetic Lady. 1635.
_____. The Sad Shepherd. Pastoral drama. c. 1637.
_____. The Sad Shepherd: Or, A Tale of Robin Hood. Online facsimile at The Internet Archive
_____. The Second Book of the English Grammar. c. 1637.
Fletcher, John, George Chapman, Ben Jonson and Philip Massinger (?). Rollo: or the Bloody Brother. Oxford, 1638.


Jonson, Ben. The English Grammar. Ed. James Howell. 1640.
_____. The English Grammar. In Jonson, Works. 1640.
_____. English Grammar. Rev. ed. in Jonson's 1692 Folio.
_____. The Underwood. In Jonson, (Works, Second folio). 1640.
_____. From Underwood. 1640-41. (From "A Celebration of Charis in Ten Lyric Pieces," "A Sonnet, to the Noble Lady, the Lady Mary Wroth," "My Picture Left in Scotland,").  In The Norton Anthology of English Literature. 7th ed. Ed. M. H. Abrams, Stephen Greenblatt et al. New York: Norton, 1999. 1.1403-9.*
_____. An Execration against Vulcan. 1640.
_____. Works. 2nd ed. 1640.
_____. Timber: Or, Discoveries. Criticism. 1st ed. in Workes. Vol. 2. 1640.
_____. Timber. In 1692 folio.
_____. Discoveries. Ed. Maurice Castelain. Paris, 1906.
_____. Timber: Or, Discoveries. Selection. In The Great Critics. Ed. J. H. Smith and E. W. Parks. New York: Norton, 1932. 212-21.*
_____. Discoveries. Ed. G. B. Harrison. (Bodley Head Quartos).
_____. Timber: Or, Discoveries. Ed. Ralph S. Walker. London: Greenwood Press, 1976.
_____. Timber or discoveries. In Jonson, The Complete Poems. Ed. G. Parfitt. Harmondsworth: Penguin, 1980.
_____. Timber, or, Discoveries. In Ben Jonson (The Oxford Authors) 521-94.*
_____. From Timber, or Discoveries. 1640-41. (Style). In The Norton Anthology of English Literature. 7th ed. Ed. M. H. Abrams, Stephen Greenblatt et al. New York: Norton, 1999. 1.1616-18.*
_____. "De Shakespeare Nostrati." 1641. In Shakespeare Criticism: A Selection 1623-1840. London: Oxford UP, 1946. 6.
_____. "Ben Jonson on Shakespeare (1623-37)." From Timber. In The Norton Shakespeare. Ed. Stephen Greenblatt et al. New York: Norton, 1997. 3360-61.*
_____, trans. The Art of Poetry. By Horace. In Works. Ed. 1640.
_____, trans. The Art of Poetry. By Horace. In The Great Critics. Ed. James Harry Smith and Edd Winfield Parks. New York: Norton, 1932. 88-105.*

Other works

Jonson, Ben.The Masque of Augurs.
_____. Commentary on the Poetics. (Lost).
_____. Journey into Scotland. (Lost).
_____. May Lord. Drama. (Lost).
_____. Life of Henry V. (Unfinished and lost).
_____. Rape of Proserpine. Poem. (Lost).
_____. Epitaph on the Countess of Pembroke.
Jonson, Ben, and Inigo Jones. Love's Triumph Through Callipolis. Masque.

Collected works

Jonson, Ben. Works. 1616. (Folio).
_____. Works. 2nd ed. 1640.
_____. (Works). 1692 (Folio).
_____. (Works of Ben Jonson). Octavo, 6 vols. Illustrated. Jacob Tonson, 1716.
_____. Jonson Anthology (1617-1637). Ed. E. Arber. (British Anthologies 5). Frowde, 1899.
_____. The Works of Ben Jonson. Ed. C. H. Herford, Percy Simpson, and Evelyn Simpson. 11 vols. Oxford: Clarendon, 1925-52. 1971.
_____. The Complete Poetry of Ben Jonson. Ed. W. B. Hunter, Jr. New York: New York UP, 1963.
_____. The Complete Poetry of Ben Jonson. Ed. William B. Hunter, Jr. Garden City (NY): Doubleday-Anchor, 1963.
_____. The Complete Poetry of Ben Jonson. Ed. William B. Hunter, Jr. New York: Norton, 1978.
_____. Ben Jonson. Ed. Thom Gunn. (Poet to Poet). Harmondsworth: Penguin.
_____. Ben Jonson and the Cavalier Poets. Ed. Hugh Maclean. (Norton Critical Edition). New York: Norton, 1975.
_____. Ben Jonson's Plays and Masques. Ed. Robert M. Adams. (Norton Critical Edition). New York: Norton, 1979.
_____. The Complete Poems. Ed. George Parfitt. Harmondsworth: Penguin, 1975. 1980.
_____. Three Comedies (Volpone, The Alchemist, Bartholomew Fair). Harmondsworth: Penguin.*
_____. Five Plays.  Ed. G. A. Wilkes. Oxford: Oxford UP.
_____. Ben Jonson (The Oxford Authors). Ed. Ian Donaldson. Oxford: Oxford UP, 1985.*
_____. "On My First Son." "My Picture left in Scotland." "To Penshurst." From Volpone. In The Arnold Anthology of British and Irish Literature in English. Ed. Robert Clark and Thomas Healy. London: Hodder Headline-Arnold, 1997. 303-15.*
_____. The Selected Plays of Ben Jonson. Ed. Johanna Procter. (Plays By Renaissance and Restoration Dramatists). 1989.
_____. The Alchemist and Other Plays. Ed. Gordon Campbell. Oxford: Oxford UP, 1995.
_____. Volpone and Other Plays. Ed. Lorna Hutson. (Renaissance Dramatists). Harmondsworth: Penguin, 1998.
_____. Ben Jonson's Plays and Masques. Ed. Richard Harp. 2nd ed. (Norton Critical Edition). New York: Norton, 2001.
_____. (Ben Jonson's masques, ed. Stephen Orgel, for the Yale ed. of Ben Jonson's works).
Spencer, T. J. B., and S. Wells, eds. A Book of Masques. Cambridge: Cambridge UP, 1967. Rpt. 1980. (Jonson, Daniel, Campion, Beaumont, W. Browne, Davenant).

On Ben Jonson


Boehrer, Bruce Thomas. "Renaissance Overeating: The Sad Case of Ben Jonson." PMLA 105 (1990): 1071-82.*
Gifford. Life of Ben Jonson. 19th c.
Hazlitt, William. "Benjamin Jonson." In The Lives of the British Poets. London: Nathaniel Cooke, 1854. 1.206-19.*
Riggs, David. Ben Jonson: A Life. Cambridge (MA): Harvard University Press, 1989.


Bamborough, J. B. Ben Jonson. New York: Humanities Press, 1970.
Barish, Jonas A. Ben Jonson and the Language of Prose Comedy. Cambridge (MA): Harvard UP, 1960.
_____. From "Jonson and the Loathèd Stage." From A Celebration of Ben Jonson. Ed. William Blisset, Julian Patrick and R. W. Van Fossen. 1973. 32-46. Rpt. in The Critical Perspective: Volume 3: Elizabethan-Caroline. Ed. Harold Bloom. (The Chelsea House Library of Literary Criticism). New York: Chelsea House, 1986. 1508.*
_____, ed. Jonson: Volpone. (Casebooks series). Basingstoke: Macmillan, 1972.
_____, ed. Ben Jonson: A Collection of Critical Essays. Englewood Cliffs (NJ): Prentice-Hall, 1963.*
Barton, Anne. Ben Jonson, Dramatist. Cambridge: Cambridge UP, 1984.
Bawcutt. N. W. "New Jonson Documents." The Review of English Studies 47.185 (1996): 50-52.*
Beaurline, L. Ben Jonson and Elizabethan Comedy: Essays in Dramatic Rhetoric. San Marino (CA): Huntington Library, 1978.
Bentley, Gerald E. Shakespeare and Jonson: Their Reputations in the Seventeenth Century Compared. Chicago, 1945.
Blisset, William, Julian Patrick and R. W. Van Fossen, eds. A Celebration of Ben Jonson. 1973.
Brady, Jennifer. . (On Ben Jonson). SEL 23 (1983).
Burrow, Colin. "Combative Criticism: Jonson, Milton, and Classical Literary Criticism in England." In The Renaissance. Ed. Glyn P. Norton. Vol. 3 of The Cambridge History of Literary Criticism. Cambridge: Cambridge UP, 1999. 2001. 487-99.*
Butler, Martin, ed. Re-Presenting Ben Jonson: Text, Performance, History. (Early Modern Literature in History series). Houndmills: Macmillan, 1999..
Carvalho Homem, Rui. "Entre o juiz e o louco: persusos da comédia de Ben Jonson de Volpone a Bartholomew Faiyre. MA diss. U de lisboa, 1986.
_____. "Retórica do Riso: Comédia, Sátira, e um dia na Feira com Ben Jonson." Revista da Faculdade de Letras- Lnguas e Literaturas, in Honorem Prof. Oscar Lopes. 2nd ser. 12 (Porto, 1995): 301-47.
_____. "'A More Familiar Straine': Puppetry and Burlesque, or, Translation as Debasement in Ben Jonson's Bartholomew Fair." In SEDERI VII. Ed. S. González Fernández-Corugedo et al. Coruña: SEDERI, 1996. 179-86.*
Cave, Richard Allen. Ben Jonson. (English Dramatists). Houndmills: Macmillan.
Clare, Janet. "Jonson's 'Comical Satires' and the Art of Courtly Compliment." Refashioning Ben Jonson: Gender, Politics and the Jonsonian Canon. Ed. Julie Sanders. London: Macmillan, 1998. 28-44.
Coles, Chris. How to Study a Renaissance Play: Marlowe, Jonson, Webster. (How to Study series). Houndmills: Macmillan, 1988.
Coren, Pamela. "In the Person of Womankind: Female Persona Poems by Campion, Donne, Jonson." Studies in Philology (Chapel Hill) 98.2 (Spring 2001): 225-51.
Coronato, Rocco. "Carnival Vindicated to Himself? Reappraising Bakhtinized Ben Jonson." Connotations 6.2 (1996/97): 180-203.*
Craig, D. H., ed. Ben Jonson: The Critical Heritage. London: Routledge, 1991.
Dietz, Bernd. "Los Epigramas de Ben Jonson." In Estudios literarios ingleses: Renacimiento y barroco. Ed. Susana Onega. Madrid: Cátedra, 1986. 343-62.*
Dollimore, Jonathan. "8. Sejanus (1603): History and Realpolitik." In Dollimore, Radical Tragedy. 3rd ed. Houndmills: Palgrave, 2004. 134-38.*
Donaldson, Ian. The World Upside Down: Comedy from Jonson to Fielding. Oxford: Clarendon Press, 1970.
_____. Jonson's Magic Houses: Essays in Interpretation. Oxford: Clarendon Press, 1997.
Dryden, John. Of Dramatic Poesy: An Essay. 1668.
_____. Essay of Dramatic Poesy. Ed. Thomas Arnold, rev. W. T. Arnold. Oxford, 1903.*
_____. An Essay of Dramatic Poesy. In The Great Critics. Ed. J. H. Smith and E. W. Parks. New York: Norton, 1932. 255-310.*
_____. An Essay of Dramatic Poesy. In Literary Criticism: From Plato to Dryden. Ed. Gilbert. 601-58.*
_____. Of Dramatic Poesie. In Of Dramatic Poesie and Other Critical Essays. Ed. George Watson. 2 vols. London, 1962.
_____. Of Dramatic Poesie. Ed. James T. Boulton. Oxford, 1964.
_____. Of Dramatic Poesy: An Essay. In Dryden, Selected Criticism 17-76.*
_____ An Essay of Dramatic Poesy. In Literary Criticism and Theory. Ed. R. C. Davis and L. Finke. London: Longman, 1989. 249-89.*
_____. From An Essay of Dramatic Poesy. InThe Norton Anthology of English Literature. Ed. M. H. Abrams, Stephen Greenblatt et al. New York: Norton, 1999. 1.2114-18.*
Dutton, Richard. Ben Jonson: To the First Folio. Cambridge: Cambridge UP, 1983.
_____. Ben Jonson: Authority: Criticism. Basingstoke: Macmillan, 1996.
Eliot, T. S. "Ben Jonson." 1919. In Eliot, Selected Essays. 3rd. ed. London: Faber, 1951. 147-60.
_____. "Ben Jonson." 1919. In The Sacred Wood. 1920. 104-22.
_____. "Ben Jonson." In Eliot, El bosque sagrado: Edición bilingüe. San Lorenzo de El Escorial (Madrid): Langre, 2004. 325-60.*
_____. "Ben Jonson." In The Critical Perspective: Volume 3: Elizabethan-Caroline. Ed. Harold Bloom. (The Chelsea House Library of Literary Criticism). New York: Chelsea House, 1986. 1495-98.*
Enright, D. J. From "Poetic Satire and Satire in Verse: A Consideration of Jonson and Massinger." Scrutiny (Winter 1951-52): 211-23. Rpt. in The Critical Perspective: Volume 3: Elizabethan-Caroline. Ed. Harold Bloom. (The Chelsea House Library of Literary Criticism). New York: Chelsea House, 1986. 1542-44.*
Evans, Robert C. Ben Jonson and the Poetics of Patronage. Lewisburg (PA): Bucknell UP, 1989.
_____. "Ben Johnson Reads Daphnis and Chloe." English Language Notes. 27.4 (1990): 28-32.
Fernández López, J. "Horacio y Ben Jonson: Poetaster." In Bimilenario de Horacio. Ed. Rosario Cortés Tovar and José Carlos Fernández Corte. Salamanca: Ediciones Universidad de Salamanca, 1994. 36-76.*
Ferry, Anne. All in War with Time: Love Poetry of Shakespeare, Donne, Jonson, Marvell. 1975.
Fowler, Alastair. "The Silva Tradition in Jonson's The Forrest." In Poetic Traditions of the English Renaissance. Ed. Maynard Mack and George de Forest Lord. New Haven: Yale UP, 1982. 163-80.
Freehafer, John. "Leonard Digges, Ben Jonson, and the Beginning." Shakespeare Quarterly 21 (1970): 63-75.
_____. "Leonard Digges, Ben Jonson, and the Beginning." In Shakespeare and the Literary Tradition. Ed. Stephen Orgel and Sean Keilen. New York and London: Garland, 1999. 239-42.*
García Landa, José Angel. "Jonson, Ben." In García Landa, Vanity Fea 2 Oct. 2012.*
_____. "Every Man in His Humour / Every Man Out of His Humour." In García Landa, Vanity Fea 17 Oct. 2012.*
_____. "The Plot of Volpone." From The Oxford Companion to English Literature. García Landa, José Ángel. "." In García Landa, Vanity Fea 20 Nov. 2012.*
García Martínez, Isabel. "Ben Jonson y Molière. Análisis comparativo de su itinerario vital y creador." XIV Congreso de AEDEAN. Bilbao: Servicio Editorial de la Universidad del País Vasco, 1992. 285-94.
Goldberg, Jonathan. James I and the Politics of Literature: Jonson, Shakespeare, Donne and Their Contemporaries. Baltimore and London, 1983.
Gómez Lara, Manuel. "Emblems of Darkness: Othello 1604 and the Masque of Blackness 1605." In SEDERI VII. Ed. S. González Fernández-Corugedo et al. Coruña: SEDERI, 1996. 217-24.*
Gordon, D. J. "Hymenaei: Ben Jonson's Masque of Union." In The Renaissance Imagination. Ed. Stephen Orgel.  Berkeley and London, 1975. (Masque, emblems, iconography).
Grant, Patrick. Literature and the Discovery of Method in the English Renaissance. Athens: U of Georgia P, 1985. (More: Richard III; Jonson: Bartholomew Fair; Donne: Anniversaries; Browne: Religio Medici; Law: Spirit of Love ; on Digby's Annotations, 102-88).
Greene, Thomas M. "Ben Jonson and the Centered Self." SEL 10 (1970): 325-48.
Harp, Richard, and Stanley Stewart, eds. The Cambridge Companion to Ben Jonson. (Cambridge Companions). Cambridge: Cambridge UP, 2000.
Haynes, Jonathan. From "Festivity and the Dramatic Economy of Jonson's Bartholomew Fair." ELH (Winter 1984): 645-57. Rpt. in The Critical Perspective: Volume 3: Elizabethan-Caroline. Ed. Harold Bloom. (The Chelsea House Library of Literary Criticism). New York: Chelsea House, 1986. 1520-24.*
_____. The Social Relations of Jonson's Theatre. 1992.
Helgerson, Richard. Self-Crowned Laureates: Spenser, Jonson, Milton, and the Literary System. Berkeley: U of California P, 1983.
_____. "Ben Jonson." In The Cambridge Companion to English Poetry, Donne to Marvell. Ed. Thomas N. Corns. Cambridge: Cambridge UP, 1993. 148-70.*
Holdsworth, R. V., ed. Jonson: Every Man in His Humour and The Alchemist. (Casebooks series). Basingstoke: Macmillan, 1979.
Hollander, John. Vision and Resonance: Two Senses of Poetic Form.  New York: Oxford UP, 1975.
_____. "Ben Jonson and the Modality of Verse." From Hollander, Vision and Resonance: Two Senses of Poetic Form. 1975. 169-82. Rpt. in The Critical Perspective: Volume 3: Elizabethan-Caroline. Ed. Harold Bloom. (The Chelsea House Library of Literary Criticism). New York: Chelsea House, 1986. 1508-12.*
Ioppolo, Grace. "Author Hissed off Stage." Revs. on Jonson. TLS 31 Jan. 1997: 23.*
Johnson, A. W. Ben Jonson: Poetry and Architecture. c. 1996.
Jonson: Volpone. (Brodie's Notes). Houndmills: Macmillan.
Jonson: Volpone. (Macmillan Master Guides). Houndmills: Macmillan.
Judkins, David C. The Nondramatic Works of Ben Jonson: A Reference Guide. Boston: Hall, 1982.
Kamholtz, Jonathan. . (On Ben Jonson). SEL 23 (1983).
Kernan, Alvin B., ed. Two Renaissance Mythmakers: Christopher Marlowe and Ben Jonson. Baltimore: Johns Hopkins UP, 1977.
Knights, L. C. Drama and Society in the Age of Jonson. Harmondsworth: Penguin.
_____. "Ben Jonson, Dramatist." In The Age of Shakespeare. Vol. 2 of The New Pelican Guide to English Literature. Ed. Boris Ford. Harmondsworth: Penguin, 1982. Rev. 1993. 404-19.*
Knowles, J. "Cecil's Shopping Centre: The Rediscovery of a Ben Jonson Masque in Praise of Trade." TLS 7 Feb. 1997: 14-15.*
Kolbrener, William. "Man to Man: Self-Fashioning in Jonson's To William Pembroke."Texas Studies in Literature and Language 39 (1997): 284-296.*
Lanier, Douglas. 'Better Markes': Ben Jonson and the Institution of Authorship. Forthcoming 1998.
Lee, Jonsook. Ben Jonson's Poesis: A Literary Dialectic of Ideal and History. Charlottesville: UP of Virginia, 1989.
Lemley, John. "Masks and Self-Portraits in Jonson's Later Poetry." ELH 44 (1977): 248-66.
Loewenstein, Joseph. Responsive Readings: Versions of Echo in Pastoral, Epic, and the Jonsonian Masque. New Haven and London: Yale UP, 1984.
_____. "The Jonsonian Corpulence, or the Poet as Mouthpiece." ELH 53 (1986): 491-518.
Lyon, John. "Jonson and Carew on Donne: Censure into Praise." Rice University Studies in English Literature 37.1 (Winter 1997): 97-119.*
MacLean, Hugh. "Ben Jonson's Poems: Notes on the Ordered Society." In Essays in English Literature from the Renaissance to the Victorian Age: Presented to A. S. P. Woodhouse. Ed. M. MacLure and F. W. Watt. Toronto: U of Toronto P, 1964. 43-68.*
Marotti, Arthur F. "All About Jonson's Poetry." ELH 39 (1972): 208-37.
Maus, Katharine Eisaman. Ben Jonson and the Roman Frame of Mind. 1985.
Marcus, Leah S. The Politics of Mirth: Jonson, Herrick, Milton, Marvell and the Defense of Old Holiday Pastimes. Chicago: U of Chicago P, 1986.
McCanles, Michael. Jonsonian Discriminations: The Humanist Poet and the Praise of True Nobility. Toronto: U of Toronto P, 1992.
McClung, William A. The Country House in English Renaissance Poetry. Berkeley: U of California P, 1977.
McDonald, Russ. Shakespeare and Jonson: Jonson and Shakespeare. Hemel Hempstead: Harvester Wheatsheaf, 1988.
Miles, Rosalind. Ben Jonson: His Craft and Art. London: Routledge, 1990.
Miner, Earl. The Cavalier Mode from Jonson to Cotton. Princeton (NJ): Princeton UP, 1971.
Mora, María José, and Rafael Portillo. "'Bless Thee, Jonson, Bless Thee! Thou Art Translated': Versiones españolas de Volpone, 1929-1994." Proceedings of the XIXth International Conference of AEDEAN. Ed. Javier Pérez Guerra et al. Vigo: Departamento de Filoloxía Inglesa e Alemana da Universidade de Vigo, 1996. 419-24.*
Newton, Richard C. "'Ben / Jonson': The Poet in the Poems." In Two Renaissance Mythmakers: Christopher Marlowe and Ben Jonson. ed. Alvin B. Kernan. Baltimore: Johns Hopkins UP, 1977. 165-95.
_____. "'Ben./Jonson": The Poet in the Poems." Rpt. in The Critical Perspective: Volume 3: Elizabethan-Caroline. Ed. Harold Bloom. (The Chelsea House Library of Literary Criticism). New York: Chelsea House, 1986. 1512-20.*
_____. "Jonson and the (Re-)Invention of the Book." In Classic and Cavalier: Essays on Jonson and the Sons of Ben. Ed. Claude J. Summers and Ted-Larry Pebworth. Pittsburgh: U of Pittsburgh P, 1982. 31-55.
Nichols, J. G. The Poetry of Ben Jonson. New York: Barnes and Noble, 1969.
Orgel, Stephen. The Jonsonian Masque. Cambridge (MA): Harvard UP, 1965.
_____. "Jonson and the Amazons." In Soliciting Interpretation: Literary Theory and Seventeenth-Century English Poetry. Ed. Elizabeth D. Harvey and Katherine E. Maus. Chicago: U of Chicago P, 1990. 119-40.*
Orgel, Stephen, and Roy Strong. Inigo Jones: The Theatre of the Stuart Court. 2 vols. Berkeley: Sotheby Parke Bennet; London: U of California P, 1973.
Osselton, N. E. "Ben Jonson's Status as a Grammarian." Dutch Quarterly Review of Anglo-American Letters 12 (1982): 205-12.
Parfitt, George. Ben Jonson: Public Poet and Private Man. New York: Barnes and Noble, 1977.   
Patterson, Annabel. "Lyric and Society in Jonson's Under-wood." In Lyric Poetry: Beyond New Criticism. Ed. Charviva Hosek and Patricia Parker. Ithaca: Cornell UP, 1985. 148-63.
_____. "Jonson, Marvell, and Miscellaneity?" In Poems in Their Place. Ed. Neil Fraistat. Chapel Hill: U of North Carolina P, 1986. 95-118.
Pérez Fernández, José María. "Stoicism and Plain Style in Ben Jonson: An Analysis of Some of His Verse Epistles." Atlantis 18 (June-Dec.1996 [issued 1998]): 337-47.*
Peterson, Richard S. Imitation and Praise in the Poems of Ben Jonson. New Haven: Yale UP, 1981.
Pigman, G. W., III. "Suppressed Grief in Jonson's Funeral Poetry." English Literary Renaissance 13 (1983): 203-20.
Post, Jonathan F. S. "Ben Jonson and the Art of Inclusion." In Post, English Lyric Poetry: The Early Seventeenth Century. London: Routledge, 1999. 2002. 23-53.*
Purkiss, Diane. The Witch in History: Early Modern and Twentieth-Century Representations. London: Routledge, 1996. (Masque of Queens).
Riddell, James A. "The Arrangement of Ben Jonson's Epigrammes." SEL 27 (1987): 53-70.
Rivers, Isabel. The Poetry of Conservatism 1600-1745: A Study of Poets and Public Affairs from Jonson to Pope. Cambridge, 1973. (Marvell, 101-25).
Sackton, A. H. Rhetoric as Dramatic Language in Ben Jonson. New York: Octagon Books, 1967.
Salomé Machado, María. "Shakespeare's The Taming of the Shrew and Jonson's Epicoene: The Women in the Stocks." In SEDERI 9 (1998). Ed. Jesús Cora Alonso et al. Alcalá de Henares: SEDERI / U de Alcalá, 1999. 257-63.*
Sanders, Julie. Ben Jonson's Theatrical Republics. Houndmills: Macmillan, 1998.
Sanders, Julie, Kate Chedgzoy and Susan Wiseman, eds. Refashioning Ben Jonson: Gender, Politics, and the Jonsonian Canon. Basingstoke: Macmillan, 1997.
Schelling, F. E. "Ben Jonson and the Classical School." PMLA 13 (1898): 221-49. Rpt. in Schelling, Shakespeare and Demi-Science. Philadelphia, 1927.
Scodel, Joshua. The English Poetic Epitaph: Commemoration and Conflict from Jonson to Wordsworth. Ithaca: Cornell UP, 1991.
Silver, Victoria. "Totem and Taboo in the Tribe of Ben: the Duplicity of Gender and Jonson's Satires." ELH 62.4 (Winter 1995): 729-58.*
Sinfield, Alan. "Poetaster, The Author, and the Perils of Cultural Production." In Sinfield, Shakespeare, Authority, Sexuality: Unfinished Business in Cultural Materialism. London and New York: Routledge, 2006. 40-52.* (Jonson).
Slights, William W. E. Ben Jonson and the Art of Secrecy. Toronto: U of Toronto P, 1996.
Spingarn, J. E. "The Source of Jonson's Discoveries." Modern Philology 2 (1903): 1-10.
Spurr, Barry. "Varieties of Poetic Style." In Spurr, Studying Poetry. Melbourne: Macmillan Education Australia, 1997. 31-44.* (Marvell, "The Mower to the Glow-Worms"; Johnson, "The Vanity of Human Wishes", Jonson, "Slow, slow, fresh fount"; Tony Harrison, "Bookends").
_____. "The Early Seventeenth Century—The Pilgrimage to the Kingdom of Man." In Spurr, Studying Poetry. Melbourne: Macmillan Education Australia, 1997. 90-133.* (Marvell, Milton, Donne, "The Flea, "A Valediction, Forbidding Mourning." "O my Black Soul"; "Batter My heart"; Herbert, "Jordan I", "Jordan II, "Redemption", "Vertue" "The Pulley"; Crashaw, "On the Wounds of Our Crucified Lord"; Jonson "Epitaph on S. P."; Herrick, "Delight in Disorder"; Milton, Paradise Lost).
Summers, Claude J., and Ted-Larry Pebworth, eds. Classic and Cavalier: Essays on Jonson and the Sons of Ben. Pittsburgh: U of Pittsburgh P, 1982.
Summers, Joseph H. The Heirs of Donne and Jonson. London: Chatto and Windus, 1970.
Swinburne, Algernon Charles. A Study of Ben Jonson. London: Chatto & Windus.
Symonds, John Addington. Ben Jonson. Longmans, 1888.
Tillotson, Geoffrey. "Othello and The Alchemist at Oxford in 1610." In Tillotson, Essays in Criticism and Research. Cambridge: Cambridge UP, 1942. 41-48.*
Trimpi, Wesley. Ben Jonson's Poems: A Study in the Plain Style. Stanford (CA): Stanford UP, 1962.
_____. "Jonson and the Neo-Latin Authorities for the Plain Style." PMLA 77 (1962).
Trussler, Simon. "5. The Era of the Outdoor Playhouses 1572-1603." In Trussler, The Cambridge Illustrated History of British Theatre. Cambridge: Cambridge UP, 1994. pbk 2000. 70-89.* (The decline of provincial playing. London's 'theatre districts'. The first prominent playhouses. Techniques of staging. Organization and development of the major companies. Actors, repertoires, 'parts' and 'lines'. The university wits, and the triumph of blank verse. Comedies, histories, tragedies—and jigs. Playwriting as a profession: Shakespeare, Heywood, Jonson. Return of the children, and the 'war of the theatres'. Theatre at court. Death of a consummate actress. Reconstructing the theatres).
van den Berg, Sara. The Action of Ben Jonson's Poetry. Newark: U of Delaware P, 1987.
Vélez Núñez, Rafael. "Ben Jonson's 'Decorous Antimasques'." Actas del XXI Congreso AEDEAN. Ed. F. Toda et al. Sevilla: U de Sevilla, 1999. 337-40.*
_____. "The Poetical Mind in Ben Jonson's Masques." In SEDERI 9 (1998). Ed. Jesús Cora Alonso et al. Alcalá de Henares: SEDERI / U de Alcalá, 1999. 209-14.*
_____. "Ben Jonson y el género inexistente." In Proceedings of the 22nd International Conference of AEDEAN (Asociación Española de Estudios Anglonorteamericanos). Lleida, 17-19 December 1998. Ed. Pere Gallardo and Enric Llurda. Lleida: Edicions de la Universitat de Lleida, 2000. 421-24.*
Venuti, Lawrence. "Why Jonson Wrote Not of Love." Journal of Medieval and Renaissance Studies 12 (1982): 195-220.
Viau, Robert O. "Conservatism Expressed Radically: The Zeal of Jonson's and Swift's Attacks on Zeal." Journal of General Education 34 (1982): 69-83.
Wayne, Don E. "Poetry and Power in Ben Jonson's Epigrammes: The Naming of 'Facts' or the Figuring of Social Relations?" Renaissance and Modern Studies 23 (1979): 70-103.
_____. "Jonson's Sidney: Legacy and Legitimation in The Forest." In Sir Philip Sidney's Achievements. Ed. M. J. B. Allen. New York: AMS, 1990. 227-50.
_____. Penshurst: The Semiotics of Place and the Poetics of History. London, 1984; Madison: U of Wisconsin P, 1984.
Wells, Stanley. Shakespeare and Co.: Christopher Marlowe, Thomas Dekker, Ben Jonson, Thomas Middleton, John Fletcher and the Other Players in His Story. London: Penguin, 2007.
West, William N. "Public Knowledge at Private Parties: Vives, Jonson, and the Circulation of the Circle of Knowledge." Pre-Modern Encyclopaedic Texts: Proceedings of the Second COMERS Congress. Ed. Peter Binkley. E. J. Brill,199, 303-13
Williams, Weldon M. "The Influence of Ben Jonson's Catiline upon John Oldham's Satyrs upon the Jesuits." ELH 11 (1944): 38-62.
_____. [On To Penshurst.] In Williams, The Country and the City. New York: Oxford UP, 1973.
Wilson, Edmund. "Morose Ben Jonson." 1948. In Wilson, The Triple Thinkers. London: Lehmann, 1952. 203-20.
_____. "Morose Ben Jonson." From The Triple Thinkers. 1948. 213-32. Rpt. in The Critical Perspective: Volume 3: Elizabethan-Caroline. Ed. Harold Bloom. (The Chelsea House Library of Literary Criticism). New York: Chelsea House, 1986. 1498-1504.*
Wiltenburg, Robert. Ben Jonson and Self-Love: The Subtlest Maze of All. Columbia and London: U of Missouri P, 1990.
Wimsatt, W. K. "English Neo-Classicism: Jonson and Dryden." In Wimsatt and Brooks, Literary Criticism: A Short History. New York: Knopf, 1957. 174-95.*
Winner, Jack D. (On Ben Jonson). SEL 23 (1983).
Womack, Peter. Ben Jonson. Oxford: Blackwell, 1987.
Yachnin, Paul. Stage-Wrights: Shakespeare, Jonson, Middleton and the Making of Theatrical Value. (New Cultural Studies). U of Pennsylvania P, c. 1998.
Zender, Karl F. "The Unveiling of the Goddess in Cynthia's Revels." Journal of English and German Philology 77 (1978): 37-52.


Volpone. Dir. Maurice Tourneur. Script by Jules Romains, based on Ben Jonson's work. Cast: Harry Baur, Louis Jouvet, Fernand Ledoux, Marion Dorian, France: Ile de France Films, 1941.*
Online at YouTube (elise paris)
Volpone. By Ben Jonson. Greenwich Theatre production, dir, Elizabeth Freestone, Cast: Richard Bremmer (Volpone), Mark Hadfield (Mosca), Conrad Westmaas (Nano/Avvocato), Harvey Virdi (Androgyno/Avvocato), Edmund Kinglsey (Castrone/Peregrine/Avvocato), Maxwell Hutcheon (Corbaccio), Tim Steed (Corvino), James Wallace (Sir Politic Would-Be), Aislin McGuckin (Celia), Peter Bankole (Bonario/Corvino's Servant), Brigid Zengeni (Lady Would Be). Prod. Film dir. Chris Cowey. DVD. London: Stage on Screen, 2010.*

Internet resources

"Ben Jonson (1572-1637)." Luminarium.*


The Ben Jonson Journal. Annual. Vol. 1 (1996).
Ed. Richard Harp and Stanley Stewart.
Department of English , UNLV,
Box 4555069, 4505 Maryland Parkway,
Las Vegas, NV 89154-5069.


Carew, Thomas. "To Ben Jonson." Poem. c. 1631, pub. 1640. In The Norton Anthology of English Literature. Ed. M. H. Abrams, Stephen Greenblatt, et al. New York: Norton, 1999. 1659-60.*
Cleveland, John. Elegy on Ben Jonson.
Dekker, Thomas. Satiromastix or the Untrussing of the Humorous Poet. Drama. Acted 1602. (vs. Ben Jonson).
Ionsonus Virbivs: or, The Memorie of Ben: Johnson Revived By The Friends of The Muses. London: Henry Seile, 1638. (Elegies).
Oldham, John. "Upon the Works of Ben Jonson." Ode.


Johnson, Robert. "Have You Seen the Bright Lily Grow." From Ben Jonson, The Devil Is an Ass, 1616. In Songs from the Labyrinth: Music by John Dowland: Performed by Sting and Edin Karamazov. CD. Hamburg: UMG-Deutsche Grammophon, 2006.*
Strauss, Richard. Die schweigsame Frau. Comic opera in three acts. Libretto by Stefan Zweig, based on Ben Jonson's play The Silent Woman. 1935.
_____. Die schweigsame Frau. Hans Hötter. Georgine von Milinkovic, Hermann Prey, Fritz Wunderlich, Hilde Güden, Pierette Alarie, Hetty Plümacher, Josef Knapp, Karl Dönch, Alois Pernerstorfer. Chor der Wiener Staatsoper. Wiener Philharmoniker / Karl Böhm. (Salzburger Festspiele 1959: Festspielhaus 6. August). 2 CDs. (Festspiel Dokumente; rec. ORF).  Hamburg: Deutsche Grammophon, 1994.* (Libretto in German and English).


Sherman, Ted. "Jonson, Herbert, Herrick, Marvell Lecture 1." YouTube (Ted Sherman) 7 May 2013.*

A Bibliography of Literary Theory, Criticism and Philology
by José Ángel García Landa
(University of Zaragoza, Spain)

The Old Man and the Sea (1989)

The Old Man and the Sea. Dir. Jud. Taylor. Written for television by Roger O. Hirson. Based on the novel by Ernest Hemingway. Cast: Anthony Quinn, Gary Cole, Patricia Clarkson, Alexis Cruz, Joe Santos, Valentina Quinn, Francesco Quinn, Paul Calderon, Sully Diaz, Jaime Tirelli, Raul Davila, James McDaniel, René Rivera, Steven Rodriguez, Manuel Santiago. Music by Bruce Broughton. Ed. Frederic Steinkamp. Photog. Tony Imi. Exec. prod. William F. Storke. Co-exec. prod. Keith Richardson, Brian Harris. Co-prod. Norman Foster. Prod. des. Malcolm J. Middleton. Prod. Robert E. Fuisz. William F. Storke / Robert E. Fuisz / Yorkshire Television, 1989.

jueves, 23 de octubre de 2014

Consiliencia y Retrospección


una publicación de Narratología evolucionista - Evolutionary Narratology.

This notion of "harmonizing strategies" between different disciplines they discuss may be related to Whewell's notion of consilience. More on consilience here:  CONSILIENCE AND RETROSPECTION.

martes, 21 de octubre de 2014

Sigo subiendo en el SSRN

Sigo subiendo en el SSRN

Llegando al puesto 27 (de 270.000) en número de artículos subidos este año; al puesto 29 por número de artículos subidos, y al puesto 828 por número de descargas:

Captura de pantalla 2014-10-22 a la(s) 00.02.26

Y de Author Rank global estoy en el puesto 2284, y subiendo. De entre esos 270.000.

En el Anthro

Con la guitarra cerca del mar

Con la guitarra cerca del mar

lunes, 20 de octubre de 2014

Carew and the Cavaliers

From Legouis and Cazamian's History of English Literature (The End of the Renascence, II: Poetry from 1625 to 1660).

1. Long Poems which were Failures.—At the death of James I, in 1625, Spenser's influence was almost exhausted, surviving only in Milton. It was Ben Jonson and especially John Donne who now had disciples and imitators. Poets were numerous down to the Restoration, but, except for Milton, they were the poets of the anthologies whose memory lives only in slight lyrics or collections of small poems.12 and to name them will sufficiently show how abundant was the production in this unfortunate genre.

The ambition to write works on a vast scale had not died out, but the efforts to realize it were failures. The epical ambition which was then common to Europe, and which produced more than one pitifully abortive poem in France, was no more successful in England. Long romances in verse and attempts at classical epics constitute what is dead in the literature of the time; their titles and the names of almost all their authors are forgotten. They have been collected only by the historical zeal of the present day, 
They consist of metrical romances, like Patrick Hannay's Sheretine and Mariana (1622), the Leoline and Sydanis (1642) of Sir Francis Kynaston, who had previouly modernized Chaucer's Troilus and Criseyde, and W. Chamberlayne's Pharonnida, in six books (1659). There are also mythological narratives; Shackerley Marmion's Cupid and Psyche (1637) and William Bosworth's Arcadius and Sepha (1651): long, religious narratives like Edward Benlowes's Theophila, in nine cantos (1652), and epics like Davenant's Gondibert (1650), which is in quatrains, and Cowley's Davideis (1656), which is classical in manner and has a Hebrew theme.

Invariably poetic qualities and readable passages are scattered here and there in these ambitious works, but on the whole they were stillborn, and have no importance in literary thistory save that a path leads over their graves to Milton's Paradise Lost.

If dead poetry be left on one side, and the attempt be then made to classify the poets of the middle seventeenth century, they are seen to fall into two main groups, separated by the differences which make the history of this troubled period. There are first the secular poets, all in the Royalist ranks and therefore known as Cavaliers, and secondly there are religious poets, subdivided into the Anglicans and the Puritans. The division is social rather than literary, but it is simple and convenient, and corresponds sufficiently to the diversity of inspiration.

2. Thomas Carew (1598?-1639). –The poet who first, before the Civil War, showed what the spirit of the Cavaliers was to be, and first was affected by the combined influence of Jonson and Donne, was Thomas Carew, a gentleman of the court of Charles I who was a reputed wit. He was a courtly and polished love-poet whom his rivals suspected of working long at his elegant verses. The logical good order of the classicists rules his mind even when, in his poems to Celia, he returns to a theme of the Petrarchists. He can isolate a thought, follow it up faithfully and balance its several parts, and many of his light sets of verses have won, in consequence, a place in anthologies. He has little sensibility—he had indeed a reputation for dryness—but his sensual ardour enables him to avoid the coldness of gallantry. Such, in any case, is the character betrayed by his longest poems and his masterpiece, The Rapture, unfortunately no less indecent than the verses of Aretino. It is an invitation to Celia to flout 'the Giant Honour' and enjoy forbidden pleasures without scruple. The paradise he paints to her is one of the most licentious even of those inspired by the Italian Renaissance. His attack on honour recalls Sidney's Astrophel and especially Donne's Elegies. He is also inspired by the speeches of Petronius in the anonymous tragedy Nero (Act IV, sc. vii), but in libertine audacity he outdoes his models.
Carew is connected with Donne by the fine elegy with which he honoured his memory. The poem has more feeling than is customary with Carew and is, moreover, one of the best pieces of criticism written in this period. No one has pointed out more accurately than Carew what was new in Donne, his contempt for outworn ornament and his need of personal and virile expression. Yet Donne left few traces upon his style. If Carew has none of the master's flashes of genius, he escapes the worst faults of his style. In his commendatory verses he shows that his thought was vigorous and direct, especially in those to Georges Sandys, who, after translating Ovid, gave up secular poetry and translated the Psalms. Carew confesses that he dare not greet 'the holy place with his unhallowed feet', but that his muse, like 'devout penitents of old', stays 'humbly waiting at the porch,' listening to the sacred strains. Yet he thinks that one day his eyes,

Now hunting glow-worms, may adore the sun,

and that:

My eyes in penitential dew may steep
That brine which they for sensual love did weep.

The poem is beautiful, and so restrained that it seems sincere. It is consistent with Clarendon's account of the poet's edifying death.

His was, however, a death-bed conversion. All his poetry is the work of an amorist, such as Milton despised. He writers 'persuasions' to love, madrigals, complaints and reproaches, addressed to a mistress, lines to his 'inconstant mistress,' who shall be 'damned for ther false apostasy,' to Celia singing, to Celia when he sends her red and white roses:

In the white you may discover
The paleness of a fainting lover;
In the red, the flames still feeding
On my heart with fresh wounds bleeding.

In the famous song, Ask me no more, he finds all the beauties of nature united in his mistress—the rose of June

For in your beauties, orient deep,
These flowers, as in their causes, sleep;

the 'golden atoms of the day' which 'enrich her hair,' the nightingale's song:

For in your sweet dividing throat,
She winters, and keeps warm her note.

The theme is commonplace, but in the harmonious quatrains of this song it is turned with perfect elegance.

Carew's work is slight, much distilled, but some warmth of imagination and a certain fancy temper its coldness. The style and the versification are so polished that Waller and Denham the acknowledged pioneers of the classical school, could hardly improve on them.

3. The Cavalier Poets. —Carew is the typical court poet. Sir John Suckling (1609-42) 3 typifies the Cavaliers, their loyalty, dash, petulancy, frivolity, easy morals, and wit. Rich, spendthrift, valiant, a gamester and a gallant, an amateur of the drama who wrote four not unsuccessful plays, and a faithful admirer of Shakespeare, Suckling mocked at the pains which Carew took to polish his verses. He was himself an improviser, one whose work is very unequal but who writers with irresistible swing. It is his light, impertinent tone which characterises him. He recalls Donne when he rallies woman on her capriciousness or himself on his inconstancy; but while he has the master's hyperbole he leaves his metaphysics alone. He discharges his mockery in the form of little, swiftly moving, neatly turned songs, irony sometimes hiding the madrigal, as in Out upon it.  His easy and flippancy are French rather than English, and it has been thought that a sojourn which he made in France before he was twenty influenced his muse. Less slight than the rest of his work is the Ballad upon a Wedding in which a farmer describes, in picturesque language, a wedding at which he has been present. Here there are many lively and homely descriptive touches, as well as wit and spirit. Suckling puts new life and freshness into the conventional epithalamium. Not until Thomas Moore did any one else show such skill at writing charming verses about nothing. 'Natural, easy Suckling,' as Congreve's Millamant calls him, whose life was short and who versified only as a pastime, had a considerable production. Beneath his apparent frivolity there was, as his poems prove, romantic generosity, and even, as his letter to Henry Jermyn shows, a power of reflecting on politics. His treatise, An Account of Religion by Reason, in which he combats the Socinian heresies, is proof that he also cared for religion. The contrasts in him are characteristic of a time in which libertinage often rubbed shoulders with piety.

Richard Lovelace (1618-58)4 was neither so correct as Carew nor so natural as Suckling. This most handsome Cavalier whose figure fascinated the ladies, this faithful follower of the king who was twice imprisoned and finally ruined for the cause, so that he ended his short life in the most abject poverty, was a very unequal poet. In his Lucasta (1649) the cold, hyperbolical compliments of the degenerate sonneteers occur side by side with Donne's obscure extravagance. The lack of art in his work is as apparent as its mannerisms, and almost all of it has been forgotten. But it was his fortune to make two or three songs in which his sense of honour is in manly alliance with his love. It was he who wrote to Althea from prison:

Stone walls do not a prison make,
    Nor iron bars a cage;
Minds innocent and quiet take
    That for an hermitage.
If I have freedom in my love,
    And in my soul am free,
Angels alone that soar above
    Enjoy such liberty.

It was he who wrote 'to Lucasta on going to the wars':

I could not love thee, dear, so much,
Loved I not honour more.

Because of these few short poems, Lovelace has the glory of having expressed the ideal of the Cavalier.

He shares it with Montrose (1612-50), the noble Scottish champion of Charles I, whose brilliant victories were followed by disaster, death, and quartering, if the Royalist hero of Scotland really wrote the fine loyalist verses attributed to him.

John Cleveland (1613-58),5 a Royalist like these other poets, who, unlike them, was of humble origin, was very different from them. He was, above all, a satirist, and he enjoyed in his own century a popularity which his vigour and his wit deserved. But his countless slight topical allusions make him difficult to read to-day. He was, moreover, one of Donne's most determined imitators, and conceits abound in his poems. The best known of them is The Rebel Scot, a fiery attack on the nation which had just delivered Charles I to the Parliament. This satirist, with his rude style, often, while turning an epigram, wrote such isolated couplets as Dryden affected, and in spite of his metaphysical strangeness he blazed the track of political satire for that poet. He did not, however, write only satires. He composed love-poetry in which a touch of real nature varies, from time to time, the extravagant gallantry, and he made some curious lyrical essays in which he was one of the first poets to realize the value of the anapaest.

It is tempting to connect Lord Herbert of Cherbury (1583-1648), 6 George Herbert's elder brother, with these Royalist poets. He is, because of his curious Autobiography, better known for his prose than for his verses, which contain a suble quintessence of poetry. His handsome person, his extravagant valour, his passion for duelling, and his refined gallantry made him a representative Cavalier, and his Ode upon a Question moved, whether Love should continue for ever, gives him a high place among the Petrarchists and the disciples of Sir Philip Sidney.

4. Robert Herrick. —Midway between the Cavaliers and the Anglicans, Robert Herrick (1591-1674),7 the most gifted and the most exquisite of all these poets, has place. The anacreontiscism of the poetry of his youth makes him one of the Cavaliers, and since, at the age of thiry-eight, he accepted a Devonshire living and did his best to convert his muse, he is also to be numbered among the Anglicans. His only collection of poems, the Hesperides, published in 1648, contains his 'works both human and divine.' The former consist of 1,129 short sets of verses, the latter of only 271, and the proportion may be taken to that in which his inspiration was secular and sacred.

The son of a London goldsmith, who from Cambridge returned to London and a life of dissipation, who in the reign of James I, while his youth lasted, was a frequenter of the literary taverns, this lover of wine, women and song, and 'son' of Ben Jonson, was induced to take orders only for the sake of a livelihood. When he bade a sad farewell to London and his muse and departed to his living of Dean Prior, in Devonshire, he resolved, like a man of honour, to be a good parson. But he had no enthusiasm for his new duties. The change was too great for this charming rhymester cast up among the savages. He petted both his muse and a few of his female parishioners. Then, little by little, helped by his recollections of pastorals, he acquired a taste for the rich countryside in which he found himself and for the ways of rustic life. He became attached also to his church and his little vicarage; he trusted in the good people's God, to whose infinite indulgence he could leave the frolics of his youth and certain lapses of his maturity, whose anger would not be roused because the very secular Hesperides were printed side by side with the Holy Numbers [Noble Numbers]. 'Jocund his muse was, but his life was chaste,' he said of himself. It was self-flattery. His portrait at the beginning of the Hesperides shows a torso like that of a merry Priapus, a sensuous, mocking mouth beneath an aquiline nose, a head bristling with crisp, luxuriant hair, a chest left bare. This is a real pagan from a garden where Cupids dance in a ring, while Pegasus, standing on a hillock, is poised for flight.

Herrick's works are by themselves an anthology, a collection of short poems brought together on no principle and without any order. He adopts 'sweet disorder' as an aesthetic principle, loves it in poetry as much as in woman's dress. He goes further and mingles the coarsest epigrams with poetry that is winged and delicate. Every contradiction of his mobile spirit, all his fleeting feelings and thoughs, are grouped haphazard. Even his 'many dainty mistresses' sometimes clash, and we can only hope that, if they were real, they were successive. He hates monotony, sharing the national craving for variety so conspicuous in the drama. He alternates the pretty with the ugly, the fragant with the evil-smelling. But nothing really counts in his works except its quality of exquisiteness, of which there is in profusion.hesperides

On occasion, Herrick was capable of sustained effort. He has some epithalamiums and some rustic pieces, like the Hock Cart, or Harvest Home, which have spirit and savour. One of the most famous of his poems is Corinna's going a-Maying, which contains five fourteen-line stanzas. It is among the most charming of songs of the dawn, fragant with flowers, rich as a poem by Spenser, and it has the merest hint of the ingenious fancy of the metaphysical poets:

Rise, and put on your foliage, and be seen
To come forth, like the spring-time, fresh and green,
     And sweet as Flora.

This poem has become the classic of all the English songs on May.

But Herrick's truest imprint is on that multitude of tiny poems which seem to be made of a breath of air—charming madrigals, love-fancies, addresses to flowers, brief epitaphs. The light joy of a frivolous heart, a fancy pleased by whatever has grace or beauty; the tenous melancholy of a reveller who remembers how ephemeral is that which charms him; such are his moods, and to the latter of them he returns again and again as he watches the flowers in his garden—the roses, the daffodils, the blossoms of the fruit-trees, the meadows whih 'have been fresh and green' and are left 'to lament.' The esssence of this mood is in a trifle about cherry-blossoms:

Ye may simper, blush and smile,
And perfume the air awhile;
But, sweet things, ye must be goine,
Fruit, ye know, is coming on;
Then, ah! then, where is your grace,
Whenas cherries come in place?

Never again did a poet of the west have so light a touch. The secret seems to be kept by Japan or China.

His epitaphs are endlessly graceful. They do not weigh down the graves on which they are but poised with the delicate grace of flowers, for instance this upon a child:

Virgins promised when I died
That they would each primrose-tide
Duly, morn, and evening, come,
And with flowers dress my tomb.
Having promised, pay your debt,
Maids, and here strew violets.

When this voluptuary was in bed with fever he called on music to dispel his pain:

     Then make me weep
     My pains asleep;
And give me such reposes
     That I, poor I,
     May think thereby
     I live and die
         'Mongst roses.

Everywhere his simplicity is seasoned with a strangeness—Mad Maid's Song, Grace for a Child, The Night-piece, to Julia. He is inspired by the Anthology and by Jonson, who had made fine translations from it; but while Jonson took extreme pains, Herrick seems to sing spontaneously. He can be reminiscent, recalling Marlowe's pastoral or Shakespeare's fairies or Herbert's pious verses, but whatever he takes is transposed and lightened. He reverses La Fontaine's otherwise just verdict on the English, that they 'think profoundly.' Herrick thinks, feels, and writes lightly. He touches nothing; he barely skims its surface. For he was without moral sense. He knew only delicate enjoyment, neither satiety, passion, nor remorse. He is the most epicurean of the moderns. His life, in the time of the Civil War and so near to Milton, seems a defiance. His metres, fluid as water, and his delicately varied stanzas, are surprising in their proximity to regularized verse, to the couplet which Waller and Denham fixed and stabilized and which increasingly became the vehicle of didacticism. Herrick, born in the Elizabethan age, was in the succeeding period the perfect artist in slight verse, while Milton, with his sovereign art, reigned over grander poetry.

5. The Anglican and Catholic Poets. Herrick, a pagan clergyman, represents no more than the lax Anglicanism of his time. The renewal of faith within the Catholic Church, provoked by the Protestant attacks, had its counterpart in England in the revived fervour of the Anglican clergy whom the Presbyterians attacked. We have seen the effects of their stimulated zeal in the prose of preachers and controversialists, and it also left its mark on poetry. Hooker had exemplified Anglican weightiness and the Anglican grasp of political principles. In the seventeenth century the ardour of many Anglicans reached even to mysticism. The pious fervour shown under James I by the brothers Phineas and Giles Fletcher became widespread under Charles I and during the persecutions of the Commonwealth. Reason became the ally, sometimes the subordinate, of imagination and sentiment. Fancy and a certain singularity were added to them, partly in consequence of the changed literary models. Poets were inspired no longer by Spenser but by Donne, whose influence was even more marked on the pious poets than on the Cavaliers.

This double tendency perceptible under Charles I and during Laud's tenure of power, on the one hand towards the restoration of the religious practices, the material accompaniments and the very millinery of Catholic ritual, and on the other towards a renewal of monastic asceticism, was combined with a taste for the metaphysical element in the sometimes truly beautiful and always curious writings of such as Herbert, Crashaw, Vaughan, and Traherne.


Notes (renumbered)

1. E. Gosse, Seventeenth Century Studies (1883); B. Wendell, The Seventeenth Century in English Literature (1904).
    Collections of verse: Cavalier and Courtier Lyrists (Canterbury Poets, 1891); G. Saintsbury, Seventeenth Century Lyrists (undated); J. H. Massingham, A Treasury of Seventeenth Century English Verse (1919; H. J. C. Grierson,
Metaphysical Lyrics and Poems of the Seventeenth Century (1921).

2. Minor Poets of the Caroline Period, ed. Saintsbury, 3 vols. (Clarendon Press, 1906-21).

3. Poems, Plays, and Other Remains of Sir John Suckling, ed. Hazlitt, 2 vols. (1892); The Works of Sir John Suckling, ed. Thompson (1910).

4. Lucasta, ed. Hazlitt (2nd ed. 1897).

5. Edited by Saintsbury in Minor Poets of the Caroline Period, vol. iii; The Poems of John Cleveland, ed. Berdan (1911).

6. His poems were published by Collins in 1881, and were edited by G. C. Moore Smith for the Clarendon Press (Poems English and Latin) in 1923.
    See Rémusat, Herbert de Cherbury (Paris, 1874).

7. Hesperides, ed. by Pollard, with introduction by Swinburne, in the Muses' Library, 2 vols. (1891); by Saintsbury in the Aldine Poets Series, 2 vols. (1893); by Rhys in Everyman's Library (1908); by F. W. Moorman (1921).
    See F. W. Moorman, Robert Herrick, a Biographical and Critical Study (1910); F. Delattre, Contribution à l'étude de la poésie anglaise au XVIIe siècle (1910; the capital work on Herrick).


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