Every Man Out of His Humour
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Despite its popularity when it first appeared in print in 1600, Every Man out of His Humour has never appeared as a single modern critical edition until now. The volume's introduction and annotations convey early modern obsessions with wealth and self-display by providing historical contexts and pointing out the continuity of those obsessions into modern life. The play is of interest because of its influence on the course of city comedy and its wealth of information about social relationships and colloquial language at the end of Elizabeth's reign. Jonson's experiments in generating theatrical…mehr

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Produktbeschreibung
Despite its popularity when it first appeared in print in 1600, Every Man out of His Humour has never appeared as a single modern critical edition until now. The volume's introduction and annotations convey early modern obsessions with wealth and self-display by providing historical contexts and pointing out the continuity of those obsessions into modern life. The play is of interest because of its influence on the course of city comedy and its wealth of information about social relationships and colloquial language at the end of Elizabeth's reign. Jonson's experiments in generating theatrical meaning continued throughout his career, but Every Man out of His Humour - with its youthful vigour and extraordinary visualizations of the urban capacity for self-deceit - is a text that enriches the understanding of all the plays that come after it.
Autorenporträt
Benjamin Jonson (c. 11 June 1572 - c. 16 August 1637[2]) was an English playwright and poet, whose artistry exerted a lasting impact upon English poetry and stage comedy. He popularised the comedy of humours. He is best known for the satirical plays Every Man in His Humour[3] (1598), Volpone, or The Fox (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."[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) In midlife, Jonson claimed that his paternal grandfather, who 'served King Henry 8 and was a gentleman',[7] 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.[8] Jonson's mother married a master bricklayer two years later.[9][10] Jonson attended school in St Martin's Lane.[3] 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.[5][9] 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.