The Revels Plays
9 total works
Renaissance comedy, first performed in 1605. Includes complete text in modernized English, critical and explanatory notes and Introduction. From the Yale Ben Jonson edition.
This edition of Jonson's great Roman tragedy is more intensively researched than any that has previously appeared. The text is based on extensive collation of the 1605 and 1616 versions and takes the earlier version as "copy-text." The introduction offers a radically new assessment of Jonson's "historiography" and his treatment of sources. It provides an explanation for the charge of treason leveled at Jonson over Sejanus and for which he had to answer to the Privy Council. Explanatory notes to the text provide much new information to facilitate a properly informed reading of the play.
Renaissance comedy. Complete text, modernized English, critical and explanatory notes and Introduction. From the Yale ben Jonson edition.
This collaborative masterpiece of hilarious city comedy was performed by the Children of the Revels at the Blackfriars playhouse in 1605. The story is of an allegorical simplicity that lends itself to satire of civic mores and traditions as well as to parody of the sentimental, idealising London comedy presented at the amphitheatres in the suburbs: Goldsmith Touchstone, an upright London citizen, has one modest and one ambitious daughter, one righteous and one disreputable apprentice; virtue is rewarded, ruthlessness comes to grief - and receives a drenching in the muddy Thames. The introduction to this edition discusses various methods of establishing authorship and highlights the irony of the collaborators' comic vision of contemporary London life.
Ben Jonson's comedy "Bartholomew Fair", which, after holding the stage for over a century, is now less well known, is offered here in an edition, based on the text of the first edition, which affords help to the modern producer and reader. In this play, written and acted in 1614, Jonson produced his first comedy since "The Alchemist" in 1610. Both that play and "Volpone" (1605) had presented an extraordinary variety of corrupt energies withing an intricate moral and aesthetic structure. To some critics, the looser construction and the less trenchant satire of "Bartholomew Fair" have seemed to show Jonson returning to the "loose multiplicity" of his earlier works. Horsman reconsiders this notion, illustrating how Jonson fills the play with "varied humours", which preserve the appearance of freedom while never actually losing control.
Antonio and Mellida was the first play by John Marston performed by the newly revived Paul's Company in 1599. Marston sought to display a variety of talents, comic, tragic, satiric and historical, advertising his own dramatic skills and the prowess of the choristers of Paul's. The play is based on incidents in the reigns of Sforza, Francesco, Galeazzo and Lodovico, who were Dukes of Milan in the late fifteenth and early sixteenth centuries. Marston displays a detailed knowledge of the dramatic works of Shakespeare, Seneca, Kyd and Nashe as well as the prose of Sidney, Erasmus, Montaigne, Florio and others. This edition relates the play to a wide variety of literary contexts. It includes a comprehensive introduction, an analysis of staging, and full commentary. The text is based on a coliation of all known copies of the 1602 Quarto and is presented in a thoroughly modernised format.
This edition of "The Devil is an Ass" (1616) aims to provide an insight into Jonson's life and work, the theatrical qualities of the play, its political background and its textual history. In his introduction, Peter Happe looks at the special place of the play in Jonson's own life, his interest in London, the theatrical setting of the play and its sources and analogues. There are critical and explanatory commentaries and a glossarial index. The play is seen in its historical and political context, by linking it with late medieval and Elizabethan plays, as well as with the Jacobean stage. The text is meticulously and reliably edited, with modernized spelling for today's reader. A commentary is provided to explain difficult or significant passages. The stage history of the play also includes very recent productions.
The New Inn, or The Light Heart is a Caroline era stage play, a comedy by English playwright and poet Ben Jonson. The New Inn is set in an inn-house in Barnett called the "Light Heart," whose host is Goodstock. Lady Frances Frampul invites some lords and gentlemen to wait on her at the inn. A melancholy gentlemen, Lord Lovel, has been lodged there some days before. In the third act, he is demanded by Lady Frampul what love is and describes so vividly the effects of love that she becomes enamoured of him. Lady Frampul's chambermaid, Prudence, dresses up as queen for the day and presides over a mock "court of love." As part of their theatrical project, Prudence and Lady Frampul decide to dress up the Host's adopted son Franck in a cross-gender attire as Laetitia, a waiting-woman. Lord Beaufort, guest to Lady Frampul, falls in love with Laetitia and marries her in secret, only to be denounced for marrying a boy.
"Epicene" is now one of the most widely-studied of Johnson's plays. Brilliantly exploiting the Jacobean convention whereby boys played female roles, it satirizes the newly fashionable and sexually ambiguous world of the West End of London, where courtly wit rubs shoulders with commercial values. This authoritative edition is based on a thorough re-examination of the earliest texts. The introduction analyses the play as originally written for the newly formed Children of the Queen's Revels, and performed at the little-known Whitefriars Theatre. Dutton discusses the composition of the play, which took place during a critical period in Jonson's life and career, when he was established as the principal writer of entertainments at the court. His relationships at the time with ambitious wits such as John Donne, Sir Edward Herbert and the actor Nathan Field are examined as models for the principal characters.
Dutton also considers the play in relation to the religious tensions of the era, as well as the masques which Jonson had recently written for Queen Anne and her ladies, and the newly-recovered "Entertainment at Britain's Burse" (reproduced here as an appendix), which had been staged earlier in 1609. This challengingly historicized text of "Epicene" should be of use to all serious students of early modern drama.
Dutton also considers the play in relation to the religious tensions of the era, as well as the masques which Jonson had recently written for Queen Anne and her ladies, and the newly-recovered "Entertainment at Britain's Burse" (reproduced here as an appendix), which had been staged earlier in 1609. This challengingly historicized text of "Epicene" should be of use to all serious students of early modern drama.