By Tom Lockwood
Tom Lockwood's examine is the 1st exam of Jonson's position within the texts and tradition of the Romantic age. half one of many e-book explores theatrical, serious, and editorial responses to Jonson, together with his position within the post-Garrick theatre, serious estimations of his existence and paintings, and the politically charged making and reception of William Gifford's 1816 version of Jonson's Works. half explores allusive and imitative responses to Jonson's poetry and performs within the writings of Samuel Taylor Coleridge, and explores how Jonson serves variously as a version wherein to degree the poet laureate, Robert Southey, and Coleridge's eldest son, Hartley. The creation and end find this "Romantic Jonson" opposed to his eighteenth-century and Victorian re-creations. Ben Jonson within the Romantic Age indicates us a diverse, cellular, and contested Jonson and provides a clean viewpoint at the Romantic age.
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Extra resources for Ben Jonson in the Romantic Age
32 Waldron’s published interest in Jonson did not cease when Whalley’s materials were passed, through the publisher George Nicol, to Gifford. The making and reception of Gifford’s edition forms the focus of Chapter 4. IV These three annotated exemplars of Waldron’s edition and continuation of The Sad Shepherd stand as local examples of the broader phenomena that the following chapters address. Although there, for the purposes of clarity, I distinguish the theatrical, the critical, and the editorial Jonson, it is with a sense, as I have demonstrated here, of their interpenetration, of their vital relation one to another.
They create a network of discourses within which Siddons is located; and they will become the discourses of Colman’s Epicœne no less forcefully. 26 Part of the problem with Siddons’s Portia had been her inaudibility, a quality that should have made her the perfect choice for The Silent Woman. Thomas Campbell, in his Life of Mrs. ’27 The Silent Woman? Colman’s Morose, in his first interview with Epicœne, asks especially after her voice as ‘He goes about her, and views her’. Epicœne’s response delights him: ‘She speaks softly’, as the stage directions have it.
1r (12 Aug. 1775); neither this letter nor the following one are collected in The Private Correspondence of David Garrick, 2 vols. (London: Henry Colburn and Richard Bentley, 1831). 24 BL Add. MS 25383, fol. 3r (19 Aug. 1775). 25 The Reminiscences of Sarah Kemble Siddons, 1773–1785, ed. : Widener Library, 1942), 5. 26 Percy Fitzgerald, The Kembles, 2 vols. (London: Tinsley Brothers, ), i. 55. Fitzgerald is, none the less, the first biographer to discuss her performance in this role: James Boaden, Memoirs of Mrs.