Biography of Ben Jonson
Benjamin Jonson was an English Renaissance dramatist, poet and actor. A contemporary of William Shakespeare, he is best known for his satirical plays, particularly Volpone, The Alchemist, and Bartholomew Fair, which are considered his best, and his lyric poems. A man of vast reading and a seemingly insatiable appetite for controversy, Jonson had an unparalleled breadth of influence on Jacobean and Caroline playwrights and poets.
Jonson's poetry, like his drama, is informed by his classical learning. Some of his better-known poems are close translations of Greek or Roman models; all display the careful attention to form and style that often came naturally to those trained in classics in the humanist manner. Jonson, however, largely avoided the debates about rhyme and meter that had consumed Elizabethan classicists such as Campion and Harvey. Accepting both rhyme and stress, Jonson uses them to mimic the classical qualities of simplicity, restraint, and precision.
“Epigrams” (published in the 1616 folio) is an entry in a genre that was popular among late-Elizabethan and Jacobean audiences, although Jonson was perhaps the only poet of his time to work in its full classical range. The epigrams explore various attitudes, most but not all of them from the satiric stock of the day: complaints against women, courtiers, and spies abound. The condemnatory poems are short and anonymous; Jonson’s epigrams of praise, including a famous poem to Camden and lines to Lucy Harington, are somewhat longer and mostly addressed to specific individuals. Although it is an epigram in the classical sense of the genre, "On My First Son" is neither satirical nor very short; the poem, and others like it, resemble what a later age sometimes called "lyric poetry." The poems of “The Forest” also appeared in the first folio. Most of the fifteen poems are addressed to Jonson’s aristocratic supporters, but the most famous are his country-house poem “To Penshurst” and the poem “To Celia” (“Come, my Celia, let us prove”) that appears also in ‘’Volpone.’’
‘’Underwood,’’ published in the expanded folio of 1640, is a larger and more heterogeneous group of poems. It contains ‘’A Celebration of Charis,’’ Jonson’s most extended effort at love poetry; various religious pieces; encomiastic poems including the poem to Shakespeare and a sonnet on Mary Wroth; the ‘’Execration against Vulcan” and others. The 1640 volume also contains three elegies which have often been ascribed to Donne (one of them appeared in Donne’s posthumous collected poems).
Relationship with Shakespeare
There are many legends about Jonson's rivalry with Shakespeare, some of which may be true. Drummond reports that during their conversation, Jonson scoffed at two apparent absurdities in Shakespeare's plays: a nonsensical line in Julius Caesar, and the setting of The Winter's Tale on the non-existent seacoast of Bohemia. Drummond also reported Jonson as saying that Shakespeare "wanted [i.e., lacked] art." Whether Drummond is viewed as accurate or not, the comments fit well with Jonson's well-known theories about literature.
In Timber, which was published posthumously and reflects his lifetime of practical experience, Jonson offers a fuller and more conciliatory comment. He recalls being told by certain actors that Shakespeare never blotted (i.e., crossed out) a line when he wrote. His own response, "Would he had blotted a thousand," was taken as malicious. However, Jonson explains, "He was, indeed, honest, and of an open and free nature, had an excellent phantasy, brave notions, and gentle expressions, wherein he flowed with that facility that sometimes it was necessary he should be stopped". Jonson concludes that "there was ever more in him to be praised than to be pardoned." Also when Shakespeare died he said "He was not of an age, but for all time."
Thomas Fuller relates stories of Jonson and Shakespeare engaging in debates in the Mermaid Tavern; Fuller imagines conversations in which Shakespeare would run rings around the more learned but more ponderous Jonson. That the two men knew each other personally is beyond doubt, not only because of the tone of Jonson's references to him but because Shakespeare's company produced a number of Jonson's plays, at least one of which (Every Man in his Humour) Shakespeare certainly acted in. However, it is now impossible to tell how much personal communication they had, and tales of their friendship cannot be substantiated.
Jonson's most influential and revealing commentary on Shakespeare is the second of the two poems that he contributed to the prefatory verse that opens Shakespeare's First Folio. This poem, "To the memory of my beloved, The AUTHOR, Mr. William Shakespeare: And what he hath left us," did a good deal to create the traditional view of Shakespeare as a poet who, despite "small Latine, and lesse Greeke", had a natural genius. The poem has traditionally been thought to exemplify the contrast which Jonson perceived between himself, the disciplined and erudite classicist, scornful of ignorance and sceptical of the masses, and Shakespeare, represented in the poem as a kind of natural wonder whose genius was not subject to any rules except those of the audiences for which he wrote. But the poem itself qualifies this view:
Yet must I not give Nature all: Thy Art,
My gentle Shakespeare, must enjoy a part.
Some view this elegy as a conventional exercise, but others see it as a heartfelt tribute to the "Sweet Swan Of Avon," the "Soul of the Age!" It has been argued that Jonson helped to edit the First Folio, and he may have been inspired to write this poem by reading his fellow playwright's works, a number of which had been previously either unpublished or available in less satisfactory versions, in a relatively complete form.
Reception and influence
During most of the 17th century Jonson was a towering literary figure, and his influence was enormous. Before the English Civil War, the "Tribe of Ben" touted his importance, and during the Restoration Jonson's satirical comedies and his theory and practice of "humour characters" was extremely influential, providing the blueprint for many Restoration comedies. In the 18th century Jonson's status began to decline. In the Romantic era, Jonson suffered the fate of being unfairly compared and contrasted to Shakespeare, as the taste for Jonson's type of satirical comedy decreased. Jonson was at times greatly appreciated by the Romantics, but overall he was denigrated for not writing in a Shakespearean vein. In the 20th century, Jonson's status rose significantly.
f Jonson's reputation as a playwright has traditionally been linked to Shakespeare, his reputation as a poet has, since the early 20th century, been linked to that of John Donne. In this comparison, Jonson represents the cavalier strain of poetry, emphasising grace and clarity of expression; Donne, by contrast, epitomised the metaphysical school of poetry, with its reliance on strained, baroque metaphors and often vague phrasing. Since the critics who made this comparison (Herbert Grierson for example), were to varying extents rediscovering Donne, this comparison often worked to the detriment of Jonson's reputation.
In his time Jonson was at least as influential as Donne. In 1623, historian Edmund Bolton named him the best and most polished English poet. That this judgment was widely shared is indicated by the admitted influence he had on younger poets. The grounds for describing Jonson as the "father" of cavalier poets are clear: many of the cavalier poets described themselves as his "sons" or his "tribe." For some of this tribe, the connection was as much social as poetic; Herrick described meetings at "the Sun, the Dog, the Triple Tunne." All of them, including those like Herrick whose accomplishments in verse are generally regarded as superior to Jonson's, took inspiration from Jonson's revival of classical forms and themes, his subtle melodies, and his disciplined use of wit. In these respects Jonson may be regarded as among the most important figures in the prehistory of English neoclassicism.
The best of Jonson's lyrics have remained current since his time; periodically, they experience a brief vogue, as after the publication of Peter Whalley's edition of 1756. Jonson's poetry continues to interest scholars for the light which it sheds on English literary history, such as politics, systems of patronage, and intellectual attitudes. For the general reader, Jonson's reputation rests on a few lyrics that, though brief, are surpassed for grace and precision by very few Renaissance poems: "On My First Sonne"; "To Celia"; "To Penshurst"; and the epitaph on boy player Solomon Pavy.
Ben Jonson's Works:
A Tale of a Tub, comedy (ca. 1596? revised? performed 1633; printed 1640)
The Case is Altered, comedy (ca. 1597–98; printed 1609), with Henry Porter and Anthony Munday?
Every Man in His Humour, comedy (performed 1598; printed 1601)
Every Man out of His Humour, comedy ( performed 1599; printed 1600)
Cynthia's Revels (performed 1600; printed 1601)
The Poetaster, comedy (performed 1601; printed 1602)
Sejanus His Fall, tragedy (performed 1603; printed 1605)
Eastward Ho, comedy (performed and printed 1605), a collaboration with John
Marston and George Chapman
Volpone, comedy (ca. 1605–06; printed 1607)
Epicoene, or the Silent Woman, comedy (performed 1609; printed 1616)
The Alchemist, comedy (performed 1610; printed 1612)
Catiline His Conspiracy, tragedy (performed and printed 1611)
Bartholomew Fair, comedy (performed 31 October 1614; printed 1631)
The Devil is an Ass, comedy (performed 1616; printed 1631)
The Staple of News, comedy (performed Feb. 1626; printed 1631)
The New Inn, or The Light Heart, comedy (licensed 19 January 1629; printed 1631)
The Magnetic Lady, or Humors Reconciled, comedy (licensed 12 October 1632; printed 1641)
The Sad Shepherd, pastoral (ca. 1637, printed 1641), unfinished
Mortimer his Fall, history (printed 1641), a fragment
The Coronation Triumph, or The King's Entertainment (performed 15 March 1604; printed 1604); with Thomas Dekker
A Private Entertainment of the King and Queen on May-Day (The Penates) (1 May 1604; printed 1616)
The Entertainment of the Queen and Prince Henry at Althorp (The Satyr) (25 June 1603; printed 1604)
The Masque of Blackness (6 January 1605; printed 1608)
Hymenaei (5 January 1606; printed 1606)
The Entertainment of the Kings of Great Britain and Denmark (The Hours) (24 July 1606; printed 1616)
The Masque of Beauty (10 January 1608; printed 1608)
The Masque of Queens (2 February 1609; printed 1609)
The Hue and Cry after Cupid, or The Masque at Lord Haddington's Marriage (9 February 1608; printed ca. 1608)
The Entertainment at Britain's Burse (11 April 1609; lost, rediscovered 2004)
The Speeches at Prince Henry's Barriers, or The Lady of the Lake (6 January 1610; printed 1616)
Oberon, the Faery Prince (1 January 1611; printed 1616)
Love Freed from Ignorance and Folly (3 February 1611; printed 1616)
Love Restored (6 January 1612; printed 1616)
A Challenge at Tilt, at a Marriage (27 December 1613/1 January 1614; printed 1616)
The Irish Masque at Court (29 December 1613; printed 1616)
Mercury Vindicated from the Alchemists (6 January 1615; printed 1616)
The Golden Age Restored (1 January 1616; printed 1616)
Christmas, His Masque (Christmas 1616; printed 1641)
The Vision of Delight (6 January 1617; printed 1641)
Lovers Made Men, or The Masque of Lethe, or The Masque at Lord Hay's (22 February 1617; printed 1617)
Pleasure Reconciled to Virtue (6 January 1618; printed 1641) The masque was a failure; Jonson revised it by placing the anti-masque first, turning it into:
For the Honour of Wales (17 February 1618; printed 1641)
News from the New World Discovered in the Moon (7 January 1620: printed 1641)
The Entertainment at Blackfriars, or The Newcastle Entertainment (May 1620?; MS)
Pan's Anniversary, or The Shepherd's Holy-Day (19 June 1620?; printed 1641)
The Gypsies Metamorphosed (3 and 5 August 1621; printed 1640)
The Masque of Augurs (6 January 1622; printed 1622)
Time Vindicated to Himself and to His Honours (19 January 1623; printed 1623)
Neptune's Triumph for the Return of Albion (26 January 1624; printed 1624)
The Masque of Owls at Kenilworth (19 August 1624; printed 1641)
The Fortunate Isles and Their Union (9 January 1625; printed 1625)
Love's Triumph Through Callipolis (9 January 1631; printed 1631)
Chloridia: Rites to Chloris and Her Nymphs (22 February 1631; printed 1631)
The King's Entertainment at Welbeck in Nottinghamshire (21 May 1633; printed 1641)
Love's Welcome at Bolsover ( 30 July 1634; printed 1641)
The Forest (1616), including To Penshurst
A Discourse of Love (1618)
Barclay's Argenis, translated by Jonson (1623)
The Execration against Vulcan (1640)
Horace's Art of Poetry, translated by Jonson (1640), with a commendatory verse by Edward Herbert
English Grammar (1640)
Timber, or Discoveries made upon men and matter, as they have flowed out of his daily readings, or had their reflux to his peculiar notion of the times, a commonplace book
On My First Sonne (1616), elegy
To Celia (Drink to Me Only With Thine Eyes), poem
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Ben Jonson Poems
On My First Son
Farewell, thou child of my right hand, and joy; My sin was too much hope of thee, lov'd boy. Seven years thou'wert lent to me, and I thee pay, Exacted by thy fate, on the just day.
Come, My Celia
Come, my Celia, let us prove While we may, the sports of love; Time will not be ours forever; He at length our good will sever.
His Excuse For Loving
Let it not your wonder move, Less your laughter, that I love. Though I now write fifty years, I have had, and have, my peers.
A Farewell To The World
FALSE world, good night! since thou hast brought That hour upon my morn of age; Henceforth I quit thee from my thought,
An Ode To Himself
Where dost thou careless lie, Buried in ease and sloth? Knowledge that sleeps doth die;
Ode To Sir William Sydney, On His Birthd...
Now that the harth is crown'd with smiling fire, And some do drink, and some do dance, Some ring,
The Noble Nature
It is not growing like a tree in bulk, doth make Man better be; or standing long an oak three hundred year,
Song To Celia Ii
Drink to me only with thine eyes, And I will pledge with mine; Or leave a kiss but in the cup, And I'll not look for wine.
Drinke to me, onely, with thine eyes, And I will pledge with mine; Or leave a kisse but in the cup, And Ile not looke for wine.
On My First Daughter
Here lies, to each her parents' ruth, Mary, the daughter of their youth; Yet all heaven's gifts being heaven's due,
A Fit Of Rhyme Against Rhyme
Rhyme, the rack of finest wits, That expresseth but by fits True conceit,
For A Girl In A Book
Kim, composite of all my loves, less real than most, more real than all; of my making, all the good and some of the bad, yet of yourself;
To John Donne
Donne, the delight of Phoebus and each Muse Who, to thy one, all other brains refuse; Whose every work of thy most early wit
My Picture Left In Scotland
I now think love is rather deaf, than blind, For else it could not be, That she, Whom I adore so much, should so slight me,
On My First Son
Farewell, thou child of my right hand, and joy;
My sin was too much hope of thee, lov'd boy.
Seven years thou'wert lent to me, and I thee pay,
Exacted by thy fate, on the just day.
O, could I lose all father now! For why
Will man lament the state he should envy?
To have so soon 'scap'd world's and flesh's rage,
And, if no other misery, yet age?
Rest in soft peace, and, ask'd, say here doth lie