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Ben Jonson, Renaissance dramatist Sean McEvoy. [print]

By: Material type: TextTextSeries: Renaissance dramatistsPublication details: Edinburgh : Edinburgh University Press, (c)2008.Description: 1 online resource (xiii, 178 pages) : illustrationsContent type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9780748629916
Subject(s): Genre/Form: LOC classification:
  • PR2638.M478.B465 2008
Online resources: Available additional physical forms:
Contents:
The early comedies (1597-1601) -- The Roman tragedies: Sejanus (1603) and Catiline (1611) -- Volpone, or The fox (1605-6) -- Epicoene, or The silent woman (1609) -- The alchemist (1610) -- Bartholomew Fair (1614) -- The devil is an ass (1616) -- The late plays (1626-34).
Subject: This new guide to the English renaissance?s most erudite and yet most street-wise dramatist strongly asserts the theatrical brilliance of his greatest plays in performance, then and now. It traces the sources of that phenomenon to Jonson?s vision of himself as a poet in the Roman tradition, and to his commitment to the sane and progressive ideals of humanism in a city where a rampant free-market and political authoritarianism made life conflicted, dangerous, and yet darkly, hilariously absurd. In his best plays, all of these forces are crafted into formal structures glittering with wit and pro.
Item type: Online Book
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Item type Current library Collection Call number URL Status Date due Barcode
Online Book G. Allen Fleece Library Online Non-fiction PR2638 (Browse shelf(Opens below)) Link to resource Available ocn232570732

Includes bibliographies and index.

Life and culture -- The early comedies (1597-1601) -- The Roman tragedies: Sejanus (1603) and Catiline (1611) -- Volpone, or The fox (1605-6) -- Epicoene, or The silent woman (1609) -- The alchemist (1610) -- Bartholomew Fair (1614) -- The devil is an ass (1616) -- The late plays (1626-34).

This new guide to the English renaissance?s most erudite and yet most street-wise dramatist strongly asserts the theatrical brilliance of his greatest plays in performance, then and now. It traces the sources of that phenomenon to Jonson?s vision of himself as a poet in the Roman tradition, and to his commitment to the sane and progressive ideals of humanism in a city where a rampant free-market and political authoritarianism made life conflicted, dangerous, and yet darkly, hilariously absurd. In his best plays, all of these forces are crafted into formal structures glittering with wit and pro.

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