By Jonson, Ben; Craig, D. H
The severe historical past gathers jointly a wide physique of severe resources on significant figures in literature. every one quantity offers modern responses to a writer's paintings, allowing scholars and researchers to learn the fabric themselves.
summary: The severe background gathers jointly a wide physique of severe assets on significant figures in literature. every one quantity offers modern responses to a writer's paintings, allowing scholars and researchers to learn the cloth themselves
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There are lots of variants of King Richard II. This academic version used to be created for self-improvement or in training for complicated examinations. the ground of every web page is annotated with a mini-thesaurus of unusual phrases highlighted within the textual content, together with synonyms and antonyms. Designed for college districts, educators, and scholars trying to maximize functionality on standardized assessments, Webster’s paperbacks benefit from the truth that classics are often assigned readings.
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Additional resources for Ben Jonson : the critical heritage
Gentleman’s The Pantheonites (1773) included a character called Daniel Drugger—Abel’s great-grandson; Samuel Foote produced a farce on Garrick’s Shakespeare Jubilee scheme, called Drugger’s Jubilee (1770). In some respects the changes in Jonson’s reputation simply follow a shift in the balance from one side of a traditional opposition to the other. Diverting and celebratory comedy came to be preferred to satirical comedy, untutored genius to learned artistry, and so on. But there is also a change in the terms of debate.
Eliot’s reviews of Smith’s book95 that signalled that interest in classic art had revived, an interest which made new appreciations of Jonson possible. Herford and Simpson were already at work on their edition, the first volume appearing in 1925, the eleventh and last in 1952. A vastly expanded critical effort since then has established once again the power and subtlety of Jonson’s best work, in his great comedies but also in his poems, his masques, and even in his tragedies. His moral vision, his dramatic technique, and the nature of his imitation of ancient authors have been explored in turn.
219; Chalmers’s identification of the ‘Poet-Ape’ is in A Supplemental Apology for the Believers in the Shakespeare-Papers (1799), pp. 240–2. 78 A Complete History of the Stage (1800), iii, 308. Jonson is the subject of chs 5 and 6 of volume iii. 79 Coleridge’s Miscellaneous Criticism, ed. Thomas Middleton Raysor (1936), pp. Schlegel, A Course of Lectures on Dramatic Art and Literature [given 1808], trans. John Black (1815), pp. 282–3. 80 Hazlitt, The Complete Works, ed. Howe (1931), vi, 38–9. 28 BEN JONSON 81 In Gilchrist’s An Examination of the Charges Mainteined by Messrs.