Samuel Pepys on performances of Epicoene and Bartholomew Fair 1664–5

2018 ◽  
pp. 239-240
2017 ◽  
Vol 24 (1) ◽  
pp. 46-72
Author(s):  
Jacob Tootalian

Ben Jonson's early plays show a marked interest in prose as a counterpoint to the blank verse norm of the Renaissance stage. This essay presents a digital analysis of Jonson's early mixed-mode plays and his two later full-prose comedies. It examines this selection of the Jonsonian corpus using DocuScope, a piece of software that catalogs sentence-level features of texts according to a series of rhetorical categories, highlighting the distinctive linguistic patterns associated with Jonson's verse and prose. Verse tends to employ abstract, morally and emotionally charged language, while prose is more often characterized by expressions that are socially explicit, interrogative, and interactive. In the satirical economy of these plays, Jonson's characters usually adopt verse when they articulate censorious judgements, descending into prose when they wade into the intractable banter of the vicious world. Surprisingly, the prosaic signature that Jonson fashioned in his earlier drama persisted in the two later full-prose comedies. The essay presents readings of Every Man Out of his Humour and Bartholomew Fair, illustrating how the tension between verse and prose that motivated the satirical dynamics of the mixed-mode plays was released in the full-prose comedies. Jonson's final experiments with theatrical prose dramatize the exhaustion of the satirical impulse by submerging his characters almost entirely in the prosaic world of interactive engagement.


Author(s):  
Ted Geier

Shows the robust nonhuman concern in Romantic works through new readings of Mary Shelley, Burns, Wordsworth, Clare, and Coleridge. The chapter traces these themes and forms of threatened, abject life as an expansive multispecies community of suffering. These works interrogate the weakness of expressive forms, performing the very captivity they lament. Wordsworth’s poem on the Bartholomew Fair is a fulcrum to the London studies in the book. These forms of expression are then examined in Dickens’s narratology and the narrator-object Esther in Bleak House.


Author(s):  
Joseph Hone

This chapter introduces and explores the full spectrum of positions on the succession across a range of texts responding to the deaths of William III and James II. It demonstrates the collapse of earlier norms of royal mourning by unearthing how royal elegy—a sacrosanct genre in the seventeenth century—became a vehicle for opposition satire. Anne Finch, Alexander Pope, Samuel Pepys, and William Pittis were all involved in writing or circulating Jacobite libels in manuscript. Examining the scribal circulation of satires sheds new light on their political allegiances and networks. The chapter ends with a sustained contextual examination of Daniel Defoe’s poem The Mock Mourners.


Author(s):  
Bernard Capp
Keyword(s):  

The famous diarist Samuel Pepys felt responsible for the welfare of his three siblings, Tom, Pall, and John, an important aspect of his life that is often overlooked. In the case of feckless Tom, a tailor, Pepys sought to put his trade on an even keel and find him a wife. John, an idle student, had to be helped through university and into a career. In the case of Pall, plain and truculent, Pepys devoted huge time and effort to finding her security through marriage. His support and commitment is all the more striking given that he felt little affection for any of them, while they in turn resented his overbearing manner and demands for deference and obedience. Despite the rivalries, the family’s story underlines the strength of sibling ties, and the tensions within them, and shows the famous diarist in a new light.


1889 ◽  
Vol s7-VII (167) ◽  
pp. 196-197
Author(s):  
Julian Marshall
Keyword(s):  

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