{"title":"Shakespeare's “Vicious Blots” and the Diction of Later English Bible Translations","authors":"Phillip K. Arrington","doi":"10.3366/bjj.2020.0283","DOIUrl":"https://doi.org/10.3366/bjj.2020.0283","url":null,"abstract":"This essay examines the possible significance of blot variants in both Shakespeare's corpus and later English Bible translations, especially their increased use in l611 King James Version and the Revised Standard Edition compared to earlier English Bible translations. The shared fondness for these variants and their figurative potential suggest the literal constraints of inscription and erasure shown in the neglected “discourse of inscription” that appears in the poet-playwright's and later Bible translators' printed works.","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83521873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ben Jonson's The Alchemist: Shaping Behavior in the Shadow of the Apocalypse","authors":"Mechlowicz Neal","doi":"10.3366/bjj.2020.0285","DOIUrl":"https://doi.org/10.3366/bjj.2020.0285","url":null,"abstract":"As portrayed in The Alchemist, Ben Jonson's London grappled with the challenges of a burgeoning urban life and its effects on morality and consumption. While using his authorship as lectern was not unique, Jonson's message, that the order of improving one's status stood to be perverted, was; and in featuring the local preoccupation with alchemy and the apocalypse, he revealed the corrupt and toxic relationship between the city's economic and religious zeal. Martin Luther's sixteenth century idea of a new religion called for man's return to his covenant with God and to simple faith. By Jonson's time however, London faced an additional battle from within, as extreme religion gained ground. Because the play was coterminous with Jonson's audience's lives, they were well-aware that pure-Protestants provoked anxieties to gather believers. In straining to escape their present and to a future marked by heavenly expectations, Jonson's characters evoked his contemporaries’ desires to address their own exigencies. By capturing his audience's attention referencing popular current events, Jonson created a stage for his greater concern, that faith in economic as well as religious transcendence exposed his milieu to divisive radicalism and victimization.","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81130436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lust, Spirit, and the Vice List in Shakespeare's Sonnet 129 and Galatians 5","authors":"Marlin E. Blaine","doi":"10.3366/bjj.2020.0286","DOIUrl":"https://doi.org/10.3366/bjj.2020.0286","url":null,"abstract":"Sonnet 129 ironically reinscribes Galatians 5:16–26, reconfiguring the relationship between spirit, lust, and will articulated in Paul's epistle. Paul counsels his audience not to “fulfil the luste...","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89865303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Thomas Kyd's The Householder's Philosophy and Cristoforo Landino's Comento sopra la Comedia di Dante","authors":"Domenico Lovascio","doi":"10.3366/bjj.2020.0272","DOIUrl":"https://doi.org/10.3366/bjj.2020.0272","url":null,"abstract":"Thomas Kyd's The Householder's Philosophy (1588) is a translation of Torquato Tasso's Il padre di famiglia (1582). While translating Tasso's text, Kyd made some sizeable additions to it, which would appear to spell out his stance on a series of issues. In particular, Kyd significantly expands Tasso's discussion on usury. Kyd's take on usury can be divided into two sections: first, a fiery invective followed by a quotation from Dante; second, a less heated denunciation based on a rational argument summarizing Aristotle's take on the matter. While the former seems to be Kyd's own invention, as scholars have previously suggested, no one has ever pointed out that the latter is in fact plagiarized from another Italian text, namely Cristoforo Landino's Comento sopra la Comedia di Dante (1481). Among other reasons, this discovery seems especially interesting because it adds another piece to the patchy mosaic of Kyd's intellectual life. As it happens, Kyd's decision to insert elements from such an encyclopedically comprehensive humanist text of literary criticism as Landino's Comento into a philosophical tract imbued with humanist notions concerning society, the family, astrology, philosophy, and cosmography seems further to connect Kyd with the continental intellectual milieu. The latter thus appears to have caught Kyd's interest even beyond his well-known penchant for neo-Senecan drama and French Renaissance literature.","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81597873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“Perform'd in this wide gap of time”: A Stage History of The Winter's Tale","authors":"C. Baker","doi":"10.3366/bjj.2020.0270","DOIUrl":"https://doi.org/10.3366/bjj.2020.0270","url":null,"abstract":"The stage history of Shakespeare's The Winter's Tale reflects changing critical perceptions about its themes as well as an evolution of theatrical production over a span of four centuries. First noted in astrologer Simon Forman's record of a performance on May 15, 1611, the play was popular with court audiences but disappeared from the stage when the theatres were closed at mid-century. It reappeared in a truncated performance on January 15, 1741. Nine months later David Garrick offered his abbreviated text—essentially a maudlin, three-act pastoral diversion—to popular appeal but critical censure. In 1802, John Philip Kemble's production presented a fuller, though Bowdlerized, text, featuring the great Sarah Siddons as Hermione. Hermione's role increasingly reflected the Victorian image of the selfless spouse who maintains her moral fiber under duress. During Charles Kean's directorship at the Princess's Theatre starting in 1850, the play acquired more lavish sets and scenery intended to reflect the historical context of the action, but the text sank under the weight of such ponderous efforts at realism. With the arrival of Harley Granville Barker's 1912 production at the Savoy Theatre, the play was returned to a more Elizabethan identity; a smaller, less cluttered stage permitted a faster-paced production with greater attention paid to Leontes as a psychologically fragile husband and monarch. This emphasis on the play as a study of the troubled marriage of a troubled king has persisted into the twentieth century as directors such as Jane Howell and Gregory Doran have lent this romance a convincing emotional depth.","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76422989","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“She dances featly”: Dance as Rhetoric in Act 4, Scene 4 of The Winter's Tale","authors":"Melissa Hudler","doi":"10.3366/bjj.2020.0271","DOIUrl":"https://doi.org/10.3366/bjj.2020.0271","url":null,"abstract":"In The Muses' Concord, James H. Jensen observes that rhetorical theory and practice ground all the arts of the Renaissance era (47). This connection is evident in the discourse of rhetorical and da...","PeriodicalId":40862,"journal":{"name":"Ben Jonson Journal","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2020-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83464966","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}