Links between Mucedorus and The Tragical History, Admirable Atchievments and Various Events of Guy Earl of Warwick

Peachman, John

doi:10.1093/notesj/gjl158

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“…But because she assumes that Jonson did not have a hand in Guy of Warwick, she then argues -unconvincingly -that the very similar wording in the two passages 'may suggest not only that Jonson lifted his comic summary from a play of Guy of Warwick, but also that the play printed in If Guy of Warwick is indeed the 'villanous Guy' play alluded to by Dekker, then it must have been written sometime between July 1597, when the Isle of Dogs affair erupted, and November 1601, when Satiromastix was en tered i n th e Stati on ers' Register, a date at odds with the current scholarly consensus that puts Guy of Warwick in the period 1593-4. However, I have pointed out previously that there is no hard evidence whatsoever for this date 27 . In suggesting the date, both Harbage , the eldest of which is Guy of Warwick, a play about Guy after 1597 is just as, if not more, likely than a date in the early 1590s 28 .…”

Section: Rainborne Wer't Born In England? What's Thy Name?mentioning

confidence: 91%

Ben Jonson's; 'Villanous Guy'

Peachman¹

2009

Notes and Queries

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In Thomas Dekker's Satiromastix the poet Horace is a blatant caricature of Ben Jonson. Throughout the play Captain Tucca, a character taken from Jonson's Poetaster, is used to mercilessly criticise Jonson. In one scene Tucca mocks him for having been 'a poore Iorneyman Player' and then makes a reference to his involvement in the Isle of Dogs affair: Death of Hercules, he could neuer play that part well in's life, no Fulkes you could not: thou call'st Demetrius Iorneyman Poet, but thou putst vp a Supplication to be a poore Iorneyman Player, and hadst beene still so, but that thou couldst not set a good face vpon't: thou hast forgot how thou amblest (in leather pilch) by a play-wagon, in the highway, and took'st mad Ieronimoes part, to get seruice a m o n g t h e M i m i c k e s : a n d w h e n t h e S t a g e r i t e s b a n i s h t t h e e into the Ile of Dogs, thou turn'dst Ban-dog (villanous Guy) & euer since bitest, therefore I aske if th'ast been at Parris-garden, because thou hast such a good mouth; thou baitst well, read, lege, saue thy selfe and read 1 .

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Section: Rainborne Wer't Born In England? What's Thy Name?mentioning

confidence: 91%

Ben Jonson's; 'Villanous Guy'

Peachman¹

2009

Notes and Queries

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The Alchemist and Medieval Faerie Romance

Bull

2019

Ben Jonson J

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In The Alchemist, Doll's faerie queen is frequently interpreted by critics as representative of Jonson's scepticism toward folkloric belief and superstition. The supernatural-monarch-come-prostitute who appears before Dapper the clerk is thought to be drawn from contemporary accounts of cozeners who would claim to be in contact with the faerie realm in order to part gullible patrons from their money. Jonson's faerie queen thus fits into wider critical discussions on the nature of faeries in Early Modern drama, in which faeries are frequently defined as deriving from rural and domestic folkloric tradition. However, whilst there is certainly some truth to the significance of folklore in representations of faeries on the early modern stage (see Shakespeare's Puck in A Midsummer Night's Dream, for example), such arguments have a tendency to downplay the significance of romance in Early Modern society and the ongoing influence of medieval romance convention in the way that faeries are incorporated into Early Modern literature and drama. This essay focuses on The Alchemist as an example of the continued importance of romance in shaping the themes and motifs that are associated with Early Modern faeries. Doll's faerie queen appears as part of a con enacted by the three cozeners, but her role and appearance still draw on certain romance motifs that equate faeries with wealth, aristocracy, and the testing of human morality. Through recognising a connection to romance in Jonson's work, this essay questions how we might better appreciate the meaning of The Alchemist's faerie queen episodes. Jonson, without relinquishing his sceptical approach to the supernatural, uses these motifs as a way of exploring themes of greed, social mobility, and new wealth, themes that permeate throughout the play and throughout his work as a whole.

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Links between Mucedorus and The Tragical History, Admirable Atchievments and Various Events of Guy Earl of Warwick

Abstract: This is a pre-copyedited, author-produced PDF of an article accepted for publication in Notes and Queries following peer review. The definitive publisher-authenticated version [Notes and Queries (2006) 53 (4): 464-467.

Cited by 2 publications

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Ben Jonson's; 'Villanous Guy'

Ben Jonson's; 'Villanous Guy'

The Alchemist and Medieval Faerie Romance

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