Ben Jonson ( 11 June 1572 – 6 or 18 August 1637) was an English playwright, poet and actor. Jonson's artistry exerted a lasting influence on English poetry and stage comedy. He popularised the comedy of humours; he is best known for the satirical plays Every Man in His Humour (1598), Volpone, or The Fox (), The Alchemist (1610), and Bartholomew Fair (1614), and for his lyric and epigrammatic poetry. He is regarded as "the second most important English dramatist, after William Shakespeare, during the reign of James I."The Editors of Encyclopaedia Britannica (12 June 2024). "Ben Jonson". Encyclopedia Britannica. Archived from the original on 12 July 2024.
Jonson was a classically educated, well-read and cultured man of the English Renaissance with an appetite for controversy (personal and political, artistic and intellectual). His cultural influence was of unparalleled breadth upon the playwrights and the poets of the Jacobean era (1603–1625) and of the Caroline era (1625–1642)."Ben Jonson", Grolier Encyclopedia of Knowledge, volume 10, p. 388.
Early life
Jonson was born in June 1572—possibly on the 11th—in or near London. In midlife, Jonson said his paternal grandfather, who "served King Henry and was a gentleman", was a member of the extended Johnston family of Annandale in Dumfries and Galloway, a genealogy that is attested by the three spindles (rhombi) in the Jonson family coat of arms: one spindle is a diamond-shaped heraldic device used by the Johnston family. His ancestors spelt the family name with a letter "t" (Johnstone or Johnstoun). While the spelling had eventually changed to the more common "Johnson", the playwright's own particular preference became "Jonson". Donaldson, Ian. "Life of Ben Jonson". The Cambridge Edition of the Works of Ben Jonson Online. Cambridge University Press. Accessed 11 June 2021.
Jonson's father lost his property, was imprisoned, and, as a Protestant, suffered forfeiture under Queen Mary. Becoming a clergyman upon his release, he died a month before his son's birth. His widow married a master bricklayer two years later.Robert Chambers, Book of Days"Ben Jonson", Encyclopædia Britannica, 15th edition, p. 611. Jonson attended school in St Martin's Lane in London. Later, a family friend paid for his studies at Westminster School, where the antiquarian, historian, topographer and officer of arms William Camden was one of his masters. The pupil and master became friends, and the intellectual influence of Camden's broad-ranging scholarship upon Jonson's art and literary style remained notable, until Camden's death in 1623. At Westminster School he met the Welsh poet Hugh Holland, with whom he established an "enduring relationship". Both of them would write preliminary poems for William Shakespeare's First Folio (1623).
On leaving Westminster School in 1589, Jonson attended St John's College, Cambridge, to continue his book learning. However, because of his unwilled apprenticeship to his bricklayer stepfather, he returned after a month. According to the churchman and historian Thomas Fuller, Jonson at this time built a garden wall in Lincoln's Inn. After having been an apprentice bricklayer, Jonson went to the Netherlands and volunteered to soldier with the English regiments of Sir Francis Vere in Flanders. England was allied with the Dutch in their fight for independence as well as the ongoing war with Spain.
The Hawthornden Manuscripts (1619), of the conversations between Ben Jonson and the poet William Drummond of Hawthornden, report that, when in Flanders, Jonson engaged, fought and killed an enemy soldier in single combat, and took for trophies the weapons of the vanquished soldier.
Jonson is reputed to have visited the antiquary Sir Robert Cotton at a residence of his in Chester early in the 17th century.
After his military activity on the Continent, Jonson returned to England and worked as an actor and as a playwright. As an actor, he was the protagonist "Hieronimo" (Geronimo) in the play The Spanish Tragedy (), by Thomas Kyd, the first revenge tragedy in English literature. By 1597, he was a working playwright employed by Philip Henslowe, the leading producer for the English public theatre; by the next year, the production of Every Man in His Humour (1598) had established Jonson's reputation as a dramatist."Thomas Kyd", Grolier Encyclopedia of Knowledge, volume 11, p. 122.
Jonson described his wife to William Drummond as "a shrew, yet honest". The identity of Jonson's wife is obscure, though she sometimes is identified as "Ann Lewis", the woman who married a Benjamin Jonson in 1594, at the church of St Magnus-the-Martyr, near London Bridge."Ben Jonson", Encyclopædia Britannica, 15th edition, p. 612.
The registers of St Martin-in-the-Fields record that Mary Jonson, their eldest daughter, died in November 1593, at six months of age. A decade later, in 1603, Benjamin Jonson, their eldest son, died of bubonic plague when he was seven years old, upon which Jonson wrote the elegiac "On My First Sonne" (1603). A second son, also named Benjamin Jonson, died in 1635.Mason, Thomas. A register of baptisms, marriages, and burials in the parish of St. Martin in the Fields (London, 1898), p. 40.
During that period, Jonson and his wife lived separate lives for five years; Jonson enjoying the residential hospitality of his patrons, Esme Stuart, 3rd Duke of Lennox and 7th Seigneur d'Aubigny and Sir Robert Townshend.
Career By summer 1597, Jonson had a fixed engagement in the Admiral's Men, then performing under Philip Henslowe's management at The Rose. John Aubrey reports, on uncertain authority, that Jonson was not successful as an actor; whatever his skills as an actor, he was more valuable to the company as a writer.
By this time Jonson had begun to write original plays for the Admiral's Men; in 1598 he was mentioned by Francis Meres in his Palladis Tamia as one of "the best for tragedy." None of his early tragedies survive, however. An undated comedy, The Case is Altered, may be his earliest surviving play.
In 1597, a play which he co-wrote with Thomas Nashe, The Isle of Dogs, was suppressed after causing great offence. Arrest warrants for Jonson and Nashe were issued by Queen Elizabeth I's so-called interrogator, Richard Topcliffe. Jonson was jailed in Marshalsea Prison and charged with "Leude and mutynous behaviour", while Nashe managed to escape to Great Yarmouth. Two of the actors, Gabriel Spenser and Robert Shaw, were also imprisoned. A year later, Jonson was again briefly imprisoned, this time in Newgate Prison, for killing Spenser in a duel on 22 September 1598 in Hogsden Fields (today part of Hoxton). Tried on a charge of manslaughter, Jonson pleaded guilty but was released by benefit of clergy, a legal ploy through which he gained leniency by reciting a brief Bible verse (the neck-verse), forfeiting his "goods and chattels" and being branded with the so-called Tyburn T on his left thumb.
While in jail Jonson converted to Catholicism, possibly through the influence of fellow-prisoner Father Thomas Wright, a Jesuit priest.
In 1598 Jonson produced his first great success, Every Man in His Humour, capitalising on the vogue for humorous plays which George Chapman had begun with An Humorous Day's Mirth. William Shakespeare was among the first actors to be cast. Jonson followed this in 1599 with Every Man out of His Humour, a pedantic attempt to imitate Aristophanes. It is not known whether this was a success on stage, but when published it proved popular and went through several editions.
Jonson's other work for the theatre in the last years of Elizabeth I's reign was marked by fighting and controversy. Cynthia's Revels was produced by the Children of the Chapel Royal at Blackfriars Theatre in 1600. It satirised both John Marston, who Jonson believed had accused him of lustfulness in Histriomastix, and Thomas Dekker. Jonson attacked the two poets again in Poetaster (1601). Dekker responded with Satiromastix, subtitled "the untrussing of the humorous poet". The final scene of this play, while certainly not to be taken at face value as a portrait of Jonson, offers a caricature that is recognisable from Drummond's report – boasting about himself and condemning other poets, criticising performances of his plays and calling attention to himself in any available way.
This "War of the Theatres" appears to have ended with reconciliation on all sides. Jonson collaborated with Dekker on a pageant welcoming James I to England in 1603 although Drummond reports that Jonson called Dekker a rogue. Marston dedicated The Malcontent to Jonson and the two collaborated with Chapman on Eastward Ho!, a 1605 play whose anti-Scottish sentiment briefly landed both Jonson and Chapman in jail.
Royal patronage At the beginning of the English reign of James VI and I in 1603 Jonson joined other poets and playwrights in welcoming the new king. Jonson quickly adapted himself to the additional demand for masques and entertainments introduced with the new reign and fostered by both the king and his consort Anne of Denmark. In addition to his popularity on the public stage and in the royal hall, he enjoyed the patronage of aristocrats such as Elizabeth Sidney (daughter of Sir Philip Sidney) and Lady Mary Wroth. This connection with the Sidney family provided the impetus for one of Jonson's most famous lyrics, the country house poem To Penshurst.
In February 1603 John Manningham reported that Jonson was living on Robert Townsend, son of Sir Roger Townshend, and "scorns the world." Perhaps this explains why his trouble with English authorities continued. That same year he was questioned by the Privy Council about Sejanus, a politically themed play about corruption in the Roman Empire. He was again in trouble for topical allusions in a play, now lost, in which he took part. Shortly after his release from a brief spell of imprisonment imposed to mark the authorities' displeasure at the work, in the second week of October 1605, he was present at a supper party attended by most of the Gunpowder Plot conspirators. After the plot's discovery, he appears to have avoided further imprisonment; he volunteered what he knew of the affair to the investigator Robert Cecil and the Privy Council. Father Thomas Wright, who heard Fawkes's confession, was known to Jonson from prison in 1598 and Cecil may have directed him to bring the priest before the council, as a witness.
At the same time, Jonson pursued a more prestigious career, writing masques for James's court. The Satyr (1603) and The Masque of Blackness (1605) are two of about two dozen masques which Jonson wrote for James or for Queen Anne, some of them performed at Apethorpe House when the King was in residence. The Masque of Blackness was praised by Algernon Charles Swinburne as the consummate example of this now-extinct genre, which mingled speech, dancing and spectacle. In July 1607, Jonson performed a poem at the great banquet given for the King by the Merchant Taylors' Company, for which he earned a fee of .
On many of these projects, he collaborated, not always peacefully, with designer Inigo Jones. For example, Jones designed the scenery for Jonson's masque Oberon, the Faery Prince performed at Whitehall on 1 January 1611 in which Prince Henry, eldest son of James I, appeared in the title role. Perhaps partly as a result of this new career, Jonson gave up writing plays for the public theatres for a decade. He later told Drummond that he had made less than two hundred pounds on all his plays together.
In 1616 Jonson received a yearly pension of 100 marks, about , leading some to identify him as England's first Poet Laureate, although the royal family never formally granted him the title. This sign of royal favour may have encouraged him to publish the first volume of the folio-collected edition of his works that year. Other volumes followed in 1640–41 and 1692. (See: Ben Jonson folios)