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BEN JOHNSON AND HIS COMEDIES TAYYOR
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- Group: 18.97 Fergana 2020 THEME: BEN JOHNSON AND HIS COMEDIES Contents Early life
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THE REPUBLIC OF UZBEKISTAN MINISTRY OF HIGHER AND SECONDARY SPECIALIZED EDUCATION FERGANA STATE UNIVERSITY FACULTY OF FOREIGN LANGUAGE DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE COURSE WORK THEME: BEN JOHNSON AND HIS COMEDIES Done: Aktamkhonova Nozima Abrorkhonova Accepted: Tairova Nargiza Isakovna Group: 18.97 Fergana 2020 THEME: BEN JOHNSON AND HIS COMEDIES Contents Early life Career Royal patronage Religion Decline and death His work Drama Poetry Relationship with Shakespeare Reception and influence Drama Poetry Jonson's works Plays Masques Other works Notes Citations References Further reading Biographies of Ben Jonson External links INTRODUCTION The aim of the work: The aim of the work is to introduce the history of The Victorian age in English Literature. To expand on description of human morality in William works and to gain more information about their life and literary career. It assists to enlarge knowledge base and to provide all students with a basic knowledge of English literature. The tasks of the work: To describe the age of which the writers belong to. To give detailed information about William’s life and literary career. To analyze works of the writer and display the specter features of the works To involve students attitude to William’s creative works. To provide all students about the works and investigate their place in English literature. To provide all students, regardless of their field of study, with a basic knowledge about Brief outline of Victorian Literature, the main authors of Victorian Literature. Benjamin Jonson (c. 11 June 1572 – c. 16 August 1637) was an English playwright and poet, whose artistry exerted a lasting impact upon English poetry and stage comedy. He popularized the comedy of humors. He is best known for the satirical plays Every Man in His Humor (1598), Vulpine (c. 1606), The Alchemist (1610) and Bartholomew Fair (1614) and for his lyric and epigrammatic poetry. "He is generally regarded as the second most important English dramatist, after William Shakespeare, during the reign of James I." 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).
The Scottish poet William Drummond of Hawthornden was friend and confidant to Jonson. In midlife, Jonson claimed that his paternal grandfather, who 'served King Henry 8 and was a gentleman', was a member of the extended Johnston family of Annandale in the 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. Jonson's father lost his property, was imprisoned, and suffered forfeiture under Queen Mary; having become a clergyman upon his release, he died a month before his son's birth. Jonson's mother married a master bricklayer two years later. Jonson attended school in St Martin's Lane. Later, a family friend paid for his studies at Westminster School, where the antiquarian, historian, topographer and officer of arms, William Camden (1551–1623) was one of his masters. In the event, the pupil and the 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. On leaving Westminster School, Jonson was to have attended the University of Cambridge, to continue his book learning but did not, because of his unwilled apprenticeship to his bricklayer stepfather. According to the churchman and historian Thomas Fuller (1608–61), Jonson at this time built a garden wall in Lincoln's Inn. After having been an apprentice bricklayer, Ben Jonson went to the Netherlands and volunteered to soldier with the English regiments of Francis Vere (1560–1609) in Flanders. 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. After his military activity on the Continent, Jonson returned to England and worked as an actor and as a playwright. As an actor, Jonson was the protagonist “Hieronimo” (Geronimo) in the play The Spanish Tragedy (ca. 1586), by Thomas Kyd (1558–94), the first revenge tragedy in English literature. Moreover, 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. Regarding his marriage Jonson described his wife to William Drummond as "a shrew, yet honest". The identity of Jonson's wife has always been obscure, yet 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. Concerning the family of Anne Lewis and Ben Jonson, the St. Martin's Church registers indicate that Mary Jonson, their eldest daughter, died in November 1593, at six months of age. Then a decade later, in 1603, Benjamin Jonson, their eldest son, died of Bubonic plague when he was seven years old; to lament and honour the dead boy, Benjamin Jonson père wrote the elegiac On My First Sonne (1603). Moreover, 32 years later, a second son, also named Benjamin Jonson, died in 1635. In that period, Ann Lewis and Ben Jonson lived separate lives for five years; their matrimonial arrangement cast Ann Lewis as the housewife Jonson, and Ben Jonson as the artist who enjoyed the residential hospitality of his patrons, Sir Robert Townshend and Lord Aubigny, Esme Stuart, 3rd Duke of Lennox.
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 evidently 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 Gabriel Spenser in a duel on 22 September 1598 in Hogsden Fields[11] (today part of Hoxton). Tried on a charge of manslaughter, Jonson pleaded guilty but was released by benefit of clergy,[3] 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 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, whilst 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.
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. (Teague, 249). 
Title page of The Workes of Beniamin Ionson (1616), the first folio publication that included stage plays 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 Palace 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. 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 £60), leading some to identify him as England's first Poet Laureate. 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) On 8 July 1618 Jonson set out from Bishopsgate in London to walk to Edinburgh, arriving in Scotland's capital on 17 September. For the most part he followed the great north road, and was treated to lavish and enthusiastic welcomes in both towns and country houses. On his arrival he lodged initially with John Stuart, a cousin of King James, in Leith, and was made an honorary burgess of Edinburgh at a dinner laid on by the city on 26 September. He stayed in Scotland until late January 1619, and the best-remembered hospitality he enjoyed was that of the Scottish poet, William Drummond of Hawthornden, sited on the River Esk. Drummond undertook to record as much of Jonson's conversation as he could in his diary, and thus recorded aspects of Jonson's personality that would otherwise have been less clearly seen. Jonson delivers his opinions, in Drummond's terse reporting, in an expansive and even magisterial mood. Drummond noted he was "a great lover and praiser of himself, a contemner and scorner of others". On returning to England, he was awarded an honorary Master of Arts degree from Oxford University. The period between 1605 and 1620 may be viewed as Jonson's heyday. By 1616 he had produced all the plays on which his present reputation as a dramatist is based, including the tragedy Catiline (acted and printed 1611), which achieved limited success[3] and the comedies Volpone (acted 1605 and printed in 1607), Epicoene, or the Silent Woman (1609), The Alchemist (1610), Bartholomew Fair (1614) and The Devil Is an Ass (1616). The Alchemist and Volpone were immediately successful. Of Epicoene, Jonson told Drummond of a satirical verse which reported that the play's subtitle was appropriate, since its audience had refused to applaud the play (i.e., remained silent). Yet Epicoene, along with Bartholomew Fair and (to a lesser extent) The Devil is an Ass have in modern times achieved a certain degree of recognition. While his life during this period was apparently more settled than it had been in the 1590s, his financial security was still not assured. Religion Jonson recounted that his father had been a prosperous Protestant landowner until the reign of "Bloody Mary" and had suffered imprisonment and the forfeiture of his wealth during that monarch's attempt to restore England to Catholicism. On Elizabeth's accession he was freed and was able to travel to London to become a clergyman. (All that is known of Jonson's father, who died a month before his son was born, comes from the poet's own narrative.) Jonson's elementary education was in a small church school attached to St Martin-in-the-Fields parish, and at the age of about seven he secured a place at Westminster School, then part of Westminster Abbey. Notwithstanding this emphatically Protestant grounding, Jonson maintained an interest in Catholic doctrine throughout his adult life and, at a particularly perilous time while a religious war with Spain was widely expected and persecution of Catholics was intensifying, he converted to the faith. This took place in October 1598, while Jonson was on remand in Newgate Gaol charged with manslaughter. Jonson's biographer Ian Donaldson is among those who suggest that the conversion was instigated by Father Thomas Wright, a Jesuit priest who had resigned from the order over his acceptance of Queen Elizabeth's right to rule in England. Wright, although placed under house arrest on the orders of Lord Burghley, was permitted to minister to the inmates of London prisons. It may have been that Jonson, fearing that his trial would go against him, was seeking the unequivocal absolution that Catholicism could offer if he were sentenced to death. Alternatively, he could have been looking to personal advantage from accepting conversion since Father Wright's protector, the Earl of Essex, was among those who might hope to rise to influence after the succession of a new monarch. Jonson's conversion came at a weighty time in affairs of state; the royal succession, from the childless Elizabeth, had not been settled and Essex's Catholic allies were hopeful that a sympathetic ruler might attain the throne. Conviction, and certainly not expedience alone, sustained Jonson's faith during the troublesome twelve years he remained a Catholic. His stance received attention beyond the low-level intolerance to which most followers of that faith were exposed. The first draft of his play Sejanus was banned for "popery", and did not re-appear until some offending passages were cut. In January 1606 he (with Anne, his wife) appeared before the Consistory Court in London to answer a charge of recusancy, with Jonson alone additionally accused of allowing his fame as a Catholic to "seduce" citizens to the cause. This was a serious matter (the Gunpowder Plot was still fresh in mind) but he explained that his failure to take communion was only because he had not found sound theological endorsement for the practice, and by paying a fine of thirteen shillings (65 pence) he escaped the more serious penalties at the authorities' disposal. His habit was to slip outside during the sacrament, a common routine at the time—indeed it was one followed by the royal consort, Queen Anne, herself—to show political loyalty while not offending the conscience. Leading church figures, including John Overall, Dean of St Paul's, were tasked with winning Jonson back to Protestantism, but these overtures were resisted. 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. He did this in flamboyant style, pointedly drinking a full chalice of communion wine at the eucharist to demonstrate his renunciation of the Catholic rite, in which the priest alone drinks the wine. The exact date of the ceremony is unknown. However, his interest in Catholic belief and practice remained with him until his death.
Jonson's productivity began to decline in the 1620s, but he remained well known. In that time, rose to the prominence the Sons of Ben or the "Tribe of Ben" - those younger poets such as Robert Herrick, Richard Lovelace, and Sir John Suckling who took their bearing in verse from Jonson. However, a series of setbacks drained his strength and damaged his reputation. He resumed writing regular plays in the 1620s, but these are not considered among his best. They are of significant interest, however, for their portrayal of Charles I's England. The Staple of News, for example, offers a remarkable look at the earliest stage of English journalism. The lukewarm reception given that play was, however, nothing compared to the dismal failure of The New Inn; the cold reception given this play prompted Jonson to write a poem condemning his audience (An Ode to Himself), which in turn prompted Thomas Carew, one of the "Tribe of Ben," to respond in a poem that asks Jonson to recognise his own decline. The principal factor in Jonson's partial eclipse was, however, the death of James and the accession of King Charles I in 1625. Jonson felt neglected by the new court. A decisive quarrel with Jones harmed his career as a writer of court masques, although he continued to entertain the court on an irregular basis. For his part, Charles displayed a certain degree of care for the great poet of his father's day: he increased Jonson's annual pension to £100 and included a tierce of wine and beer. Despite the strokes that he suffered in the 1620s, Jonson continued to write. At his death in 1637 he seems to have been working on another play, The Sad Shepherd. Though only two acts are extant, this represents a remarkable new direction for Jonson: a move into pastoral drama. During the early 1630s he also conducted a correspondence with James Howell, who warned him about disfavour at court in the wake of his dispute with Jones. Jonson died on or around 16 August 1637, and his funeral was held the next day. It was attended by 'all or the greatest part of the nobility then in town'. He is buried in the north aisle of the nave in Westminster Abbey, with the inscription "O Rare Ben Johnson [sic]" set in the slab over his grave. John Aubrey, in a more meticulous record than usual, notes that a passer-by, John Young of Great Milton, Oxfordshire, saw the bare grave marker and on impulse paid a workman eighteen pence to make the inscription. Another theory suggests that the tribute came from William Davenant, Jonson's successor as Poet Laureate (and card-playing companion of Young), as the same phrase appears on Davenant's nearby gravestone, but essayist Leigh Hunt contends that Davenant's wording represented no more than Young's coinage, cheaply re-used. The fact that Jonson was buried in an upright position was an indication of his reduced circumstances at the time of his death, although it has also been written that he asked for a grave exactly 18 inches square from the monarch and received an upright grave to fit in the requested space. 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". A monument to Jonson was erected in about 1723 by the Earl of Oxford and is in the eastern aisle of Westminster Abbey's Poets' Corner. It includes a portrait medallion and the same inscription as on the gravestone. It seems Jonson was to have had a monument erected by subscription soon after his death but the English Civil War intervened.
Apart from two tragedies, Sejanus and Catiline, that largely failed to impress Renaissance audiences, Jonson's work for the public theatres was in comedy. These plays vary in some respects. The minor early plays, particularly those written for boy players, present somewhat looser plots and less-developed characters than those written later, for adult companies. Already in the plays which were his salvos in the Poet's War, he displays the keen eye for absurdity and hypocrisy that marks his best-known plays; in these early efforts, however, plot mostly takes second place to variety of incident and comic set-pieces. They are, also, notably ill-tempered. Thomas Davies called Poetaster "a contemptible mixture of the serio-comic, where the names of Augustus Caesar, Maecenas, Virgil, Horace, Ovid and Tibullus, are all sacrificed upon the altar of private resentment". 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. Henslowe's diary indicates that Jonson had a hand in numerous other plays, including many in genres such as English history with which he is not otherwise associated. The comedies of his middle career, from Eastward Hoe to The Devil Is an Ass are for the most part city comedy, with a London setting, themes of trickery and money, and a distinct moral ambiguity, despite Jonson's professed aim in the Prologue to Volpone to "mix profit with your pleasure". His late plays or "dotages", particularly The Magnetic Lady and The Sad Shepherd, exhibit signs of an accommodation with the romantic tendencies of Elizabethan comedy. Within this general progression, however, Jonson's comic style remained constant and easily recognisable. He announces his programme in the prologue to the folio version of Every Man in His Humour: he promises to represent "deeds, and language, such as men do use". He planned to write comedies that revived the classical premises of Elizabethan dramatic theory—or rather, since all but the loosest English comedies could claim some descent from Plautus and Terence, he intended to apply those premises with rigour. This commitment entailed negations: after The Case is Altered, Jonson eschewed distant locations, noble characters, romantic plots and other staples of Elizabethan comedy, focusing instead on the satiric and realistic inheritance of new comedy. He set his plays in contemporary settings, peopled them with recognisable types, and set them to actions that, if not strictly realistic, involved everyday motives such as greed and jealousy. In accordance with the temper of his age, he was often so broad in his characterisation that many of his most famous scenes border on the farcical (as William Congreve, for example, judged Epicoene). He was more diligent in adhering to the classical unities than many of his peers—although as Margaret Cavendish noted, the unity of action in the major comedies was rather compromised by Jonson's abundance of incident. To this classical model Jonson applied the two features of his style which save his classical imitations from mere pedantry: the vividness with which he depicted the lives of his characters, and the intricacy of his plots. Coleridge, for instance, claimed that The Alchemist had one of the three most perfect plots in literature. Poetry 
"Epitaph for Cecilia Bulstrode" manuscript, 1609 Jonson's poetry, like his drama, is informed by his classical learning. Some of his better-known poems are close translations of Greek or Roman models; all display the careful attention to form and style that often came naturally to those trained in classics in the humanist manner. Jonson largely avoided the debates about rhyme and meter that had consumed Elizabethan classicists such as Thomas Campion and Gabriel Harvey. Accepting both rhyme and stress, Jonson used them to mimic the classical qualities of simplicity, restraint and precision. "Epigrams" (published in the 1616 folio) is an entry in a genre that was popular among late-Elizabethan and Jacobean audiences, although Jonson was perhaps the only poet of his time to work in its full classical range. The epigrams explore various attitudes, most from the satiric stock of the day: complaints against women, courtiers and spies abound. The condemnatory poems are short and anonymous; Jonson’s epigrams of praise, including a famous poem to Camden and lines to Lucy Harington, are longer and are mostly addressed to specific individuals. Although it is included among the epigrams, "On My First Sonne" is neither satirical nor very short; the poem, intensely personal and deeply felt, typifies a genre that would come to be called "lyric poetry." It is possible that the spelling of 'son' as 'Sonne' is meant to allude to the sonnet form, with which it shares some features. A few other so-called epigrams share this quality. Jonson's poems of "The Forest" also appeared in the first folio. Most of the fifteen poems are addressed to Jonson's aristocratic supporters, but the most famous are his country-house poem “To Penshurst” and the poem “To Celia” ("Come, my Celia, let us prove") that appears also in Volpone. Underwood, published in the expanded folio of 1640, is a larger and more heterogeneous group of poems. 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. The 1640 volume also contains three elegies which have often been ascribed to Donne (one of them appeared in Donne's posthumous collected poems). Relationship with Shakespeare 
A 19th-century engraving illustrating Thomas Fuller's story of Shakespeare and Jonson debating at the "Mermaid Tavern". There are many legends about Jonson's rivalry with Shakespeare, some of which may be true. Drummond reports that during their conversation, Jonson scoffed at two apparent absurdities in Shakespeare's plays: a nonsensical line in Julius Caesar and the setting of The Winter's Tale on the non-existent seacoast of Bohemia. Drummond also reported Jonson as saying that Shakespeare "wanted art" (i.e., lacked skill). Whether Drummond is viewed as accurate or not, the comments fit well with Jonson's well-known theories about literature. 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. He recalls being told by certain actors that Shakespeare never blotted (i.e., crossed out) a line when he wrote. His own claimed response was "Would he had blotted a thousand!"[a] However, Jonson explains, "He was, indeed, honest and of an open and free nature, had an excellent phantasy, brave notions and gentle expressions, wherein he flowed with that facility that sometimes it was necessary he should be stopped". Jonson concludes that "there was ever more in him to be praised than to be pardoned." Also when Shakespeare died, he said, "He was not of an age, but for all time." 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. That the two men knew each other personally is beyond doubt, not only because of the tone of Jonson's references to him but because Shakespeare's company produced a number of Jonson's plays, at least two of which (Every Man in His Humour and Sejanus His Fall) Shakespeare certainly acted in. However, it is now impossible to tell how much personal communication they had, and tales of their friendship cannot be substantiated. 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. This poem, "To the Memory of My Beloved the Author, Mr. William Shakespeare and What He Hath Left Us", did a good deal to create the traditional view of Shakespeare as a poet who, despite "small Latine, and lesse Greeke", had a natural genius. The poem has traditionally been thought to exemplify the contrast which Jonson perceived between himself, the disciplined and erudite classicist, scornful of ignorance and sceptical of the masses, and Shakespeare, represented in the poem as a kind of natural wonder whose genius was not subject to any rules except those of the audiences for which he wrote. But the poem itself qualifies this view: Yet must I not give Nature all: Thy Art, My gentle Shakespeare, must enjoy a part. Some view this elegy as a conventional exercise, but others see it as a heartfelt tribute to the "Sweet Swan of Avon", the "Soul of the Age!" It has been argued that Jonson helped to edit the First Folio, and he may have been inspired to write this poem by reading his fellow playwright's works, a number of which had been previously either unpublished or available in less satisfactory versions, in a relatively complete form.
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