It contains A Celebration of Charis, Jonson's most extended effort at love poetry; various religious pieces; encomiastic poems including the poem to Shakespeare and a sonnet on Mary Wroth; the Execration against Vulcan and others. Shortly before the Romantic revolution, Edward Capell offered an almost unqualified rejection of Jonson as a dramatic poet, who (he writes) "has very poor pretensions to the high place he holds among the English Bards, as there is no original manner to distinguish him and the tedious sameness visible in his plots indicates a defect of Genius. The Hawthornden Manuscripts (1619), of the conversations between Ben Jonson and the poet William Drummond of Hawthornden[3] (1585–1649), 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. Poetic drama has a long and respectable history, so much so that surveys of its twentieth-century practitioners tend to begin with discussions of the parameters laid down by critics from Aristotle to Dryden. "[48], Thomas Fuller relates stories of Jonson and Shakespeare engaging in debates in the Mermaid Tavern; Fuller imagines conversations in which Shakespeare would run rings around the more learned but more ponderous Jonson. In the next era, Swinburne, who was more interested in Jonson than most Victorians, wrote, "The flowers of his growing have every quality but one which belongs to the rarest and finest among flowers: they have colour, form, variety, fertility, vigour: the one thing they want is fragrance” – by “fragrance,” Swinburne means spontaneity. Henrik Ibsen is famously known as the Father of Modern Drama, and it is worth recognizing how literal an assessment that is. It was not until after 1710 that Shakespeare's plays (ordinarily in heavily revised forms) were more frequently performed than those of his Renaissance contemporaries. It is not known whether this was a success on stage, but when published it proved popular and went through several editions. Despite the strokes that he suffered in the 1620s, Jonson continued to write. Earlier, Aphra Behn, writing in defence of female playwrights, had pointed to Jonson as a writer whose learning did not make him popular; unsurprisingly, she compares him unfavourably to Shakespeare. [8] Jonson's mother married a master bricklayer two years later. It includes a portrait medallion and the same inscription as on the gravestone. [40][41], It has been claimed that the inscription could be read "Orare Ben Jonson" (pray for Ben Jonson), possibly in an allusion to Jonson's acceptance of Catholic doctrine during his lifetime (although he had returned to the Church of England) but the carving shows a distinct space between "O" and "rare". Several of Jonson's masques and entertainments also are not extant: The Entertainment at Merchant Taylors (1607); The Entertainment at Salisbury House for James I (1608); and The May Lord (1613–19). "[4], 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) whose 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).[5][6]. A year later, Jonson was again briefly imprisoned, this time in Newgate Prison, for killing Gabriel Spenser in a duel on 22 September 1598 in Hogsden Fields[11] (today part of Hoxton). "Ben Jonson and the Gunpowder Plot. [citation needed], This "War of the Theatres" appears to have ended with reconciliation on all sides. They are of significant interest, however, for their portrayal of Charles I's England. Jonson felt neglected by the new court. A few other so-called epigrams share this quality. Although A Doll’s House was new to the English-speaking public, the play was ten years old by the time it was performed in London in 1889. He later told Drummond that he had made less than two hundred pounds on all his plays together. Another early comedy in a different vein, The Case is Altered, is markedly similar to Shakespeare's romantic comedies in its foreign setting, emphasis on genial wit and love-plot. Coleridge, for instance, claimed that The Alchemist had one of the three most perfect plots in literature. As a result, when Hedda Gabler opened at London’s Vaudeville Theatre in April 1891, only two years later, theatregoers were surprised at the direction Ibsen’s playwriting had evolved in what seemed like such a short time. Jonson was at times greatly appreciated by the Romantics, but overall he was denigrated for not writing in a Shakespearean vein. [30], In May 1610 Henry IV of France was assassinated, purportedly in the name of the Pope; he had been a Catholic monarch respected in England for tolerance towards Protestants, and his murder seems to have been the immediate cause of Jonson's decision to rejoin the Church of England. [citation needed], In "De Shakespeare Nostrat" in Timber, which was published posthumously and reflects his lifetime of practical experience, Jonson offers a fuller and more conciliatory comment. [3] John Aubrey reports, on uncertain authority, that Jonson was not successful as an actor; whatever his skills as an actor, he was evidently more valuable to the company as a writer. During one of the most prolific periods of English-speaking literature, which saw the full flowering of the Romantic movement in poetry and the arts and the rise of the realistic novel as a major literary genre, not a single drama of major significance appeared. Jonson's most influential and revealing commentary on Shakespeare is the second of the two poems that he contributed to the prefatory verse that opens Shakespeare's First Folio.

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