Thesis (Ph. D.)--Friedrichs-Universität, Halle-Wittenberg, 1899. / Vita. Includes bibliographical references (p. 3-4).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1962. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Inaug.-Diss--Kaiser-Wilhelms-Universität, Strassburg, 1908.

Because of their obvious value in plot-complication, disguise-devices were very popular amongst Renaissance play-wrights; occasionally they were used with freshness and originality, but more often did not escape the dullness of convention. Disguise figures prominently in Jonson's comedy, and a close examination of the way in which the dramatist employs disguise demonstrates that he endows it with a particular significance that is consistent throughout his dramatic career. Jonson's affection for Stoic doctrine is well known, and he is especially concerned with that part of the doctrine that sees it as a man's moral duty to create an identity for himself and to remain constant to it. The foolish or vicious man is characterized by his unwillingness to accept such identity, or his inability to create it, by his preference for the mask. Putting this metaphor into action, Jonson creates a satiric world of disguisers and role-players, of men who create an illusion of themselves by a change in appearance, or by verbal disguise. But there is always a moral weight attached to the use of disguise: a disguise is criticized for that very activity. A chronological examination of the plays demonstrates how critical the disguiser, looking real identity, is to Jonson's moral vision, and further demonstrates how little this vision changed throughout his career. More important, an understanding of the function of the disguiser is helpful, and often crucial, for an understanding of the ethical direction of the plays. For Jonson's world is generally a world without norms, a world entirely made up of villains, where wit rather than morality seems to be triumphant. But the disguiser himself implies a norm, insofar as he implies the alternative possibility of Stoic integrity and authenticity. And although this Stoic figure rarely appears in the plays, he is prominent in Jonson's poetry. An understanding of Jonson's attitude toward the play-actor also helps explain our uneasiness in accepting apparent norms like Truewit and Quarlos, whose triumph is one of wit rather than superior morality; for by their implication in the general role-playing they prove themselves to be, finally, as empty as those they mock. This study substantiates the view that Jonson is always moralist, even when there are no moral spokesman in his plays, and that a clear understanding of his plays requires an understanding of his subtly ironic viewpoint. Indeed, it is those plays which have a moral spokesman that are his least successful. Further, it underlines the unity of his vision, not simply in individual plays, but throughout the body of his work. Finally, it helps explain the disturbing ambiguity which Jonson shows toward his chosen medium, the stage. / Thesis / Doctor of Philosophy (PhD)

No description available.

Inaug.-dis.--Halle. / Vita.

The significance of heraldic references in literature has been the subject of both antiquarian interest and recent scholarship. In the field of seventeenth-century poetry, there exists a small body of published work concerned with the use of heraldry by William Shakespeare, Ben Jonson and Jolin Cleveland. The aim of this thesis is to demonstrate the existence and significance of heraldic references in a wider range of seventeenth-century verse and poetry. It eschews assumptions regarding the use of heraldry by, or with reference to, a narrow social elite, and examines heraldic references published in broadsheets and used in songs, as well as in the privately- circulated manuscripts of the nobility. Chapter One offers a critical examination of a range of current scholarship concerned with heraldic readings of literature. Chapter Two demonstrates that formal heraldic references, affirming or celebrating their subject’s identity, were used in diverse genres, including dedicatory verses, encomia, epitaphs, elegies, epithalamia and anagrams. Chapter Three determines the social implications of the use of heraldry, with particular reference to epic and satirical verse, arguing that heraldic references in this period develop beyond their traditional, chivalric associations. Chapter Four discusses those works that include heraldic references as expressions of authority or political power, and considers their use in different contexts to affirm or undermine the position of individuals and groups within society. Chapter Five establishes the use of heraldry within religious or spiritual poetry and addresses whether its vocabulary was regarded as an expression of particular Christian values. Chapter Six explores the engagement of women writers with heraldry and considers how far their use of the language offered a challenge to the prevailing patriarchal culture. The Conclusion draws attention to the significance of the evolution of heraldry from the seventeenth century to the present day.

This thesis is a study of Ben Jonson's point of view. It attempts to determine that point of view by evaluating two of his critical theories, that of the humours and classical unity of action, and by examining their relationship to a selected number of his plays - The Case Is Altered, The Alchemist. Every Man in His Humour, Every Man Out Of His Humour, and Volpone. Just as his plays are a reflection of the times through his eyes, so too are these two critical theories his reflection of general ideas current in the age. The theory of humours derives from an Elizabethan concept of order in the universe and in man, and unity of action from a classical idea of unity and coherence. No attempt is made to re-examine the 'Elizabethan World Picture' or the classical world view except in so far as they relate to Jonson's particular views. Chapter I, "Historical and Philosophical Perspective”, deals with some of the main influences of Jonson's own time which appear most pertinent to his point of view. Chapter II discusses relevant, literary and critical theories, both Elizabethan and classical. Chapter III explores the imaginative connection made by Jonson between the theory of humours and unity of action; also it attempts to show how this connection enables Jonson to recreate interdependent character and action in spite of a loss to the imagination of a spiritually unified cosmos. The remaining chapters use the humour theory to examine Jonson's characters as illustrative of his point of view and considers unity of action as a guide to his developing technique. Although Jonson achieves finest technical expression in The Alchemist, it is in Volpone that one finds the fullest realization of his point of view, and for this reason Volpone is the play most closely studied. / Arts, Faculty of / English, Department of / Graduate

This study was made to trace the stage history of The Alchemist and to see what effect theatrical productions can have in developing critical awareness of Jonson's dramatic skill in this popular play. Therefore an attempt has been made to record all performances by major companies between 1610 and 1970 with cast lists and other pertinent information about scenery/ stage action and properties. The second part of the thesis provides a detailed analysis of four specific productions considered in light of their prompt books, details of acting and production, and overall critical reception. Garrick's adaption, which dominated the stage during the eighteenth century, reflected the genius of its producer but also demonstrated the skill with which Jonson balanced the plot. Garrick featured the part of Drugger, one of the minor gulls, but Jonson's plot structure remained intact as the ridiculing of human greed and stupidity continued to be the dominant characteristic. William Poel's production, on the other hand, emphasized the rapid plot development by use of a pseudo-Elizabethan stage, and he laid heavy stress on the elocution proving that the alchemical jargon was an essential element of the play and should not be cut because audiences could not understand it. The Ashland production (1961) also demonstrated the effectiveness of the pseudo-Elizabethan stage in presenting the fast moving comic action. It emphasized the farcical nature of the play and the repertory casting revealed the skill with which Jonson balanced his characters. The Old Vic production (1962), directed by Tyrone Guthrie, assumed that Jonson had to be modernized to be understood by contempory audiences, but his tampering with the text distorted and weakened the play in a number of ways. Finally, in the concluding chapter, an attempt has been made to provide an analysis of The Alchemist based on insights provided by the preceding material in an effort to show that literary criticism of a play is often closely linked with theatrical experience. The complex interweaving of subplot with subplot, the finely etched characters, the colourful language, the important themes—all are as theatrically effective today as they were in 1610. The stage history of The Alchemist demonstrates that it is one of Ben Jonson's most popular plays, and the reasons are visibly evident upon investigation of some of the theatrical productions / Arts, Faculty of / English, Department of / Graduate

No description available.