(born June 11?, 1572, London, Eng.—died Aug. 6, 1637, London) British playwright, poet, and critic. After learning stagecraft as a strolling player, he wrote plays for Philip Henslowe's theatres. In 1598 his comedy Every Man in His Humour established his reputation. He wrote several masques for the court of James I and created the “antimasque” to precede the masque proper. His classic plays Volpone (1605–06), The Alchemist (1610), and Bartholomew Fair (1614) use satire to expose the follies and vices of his age, attacking greed, charlatanism, and religious hypocrisy as well as mocking the fools who fall victim to them. Regarded as the era's leading dramatist after William Shakespeare, Jonson influenced later playwrights, notably in the dramatic characterization of Restoration comedies (see Restoration literature). He was also a lyric poet whose works include two famous elegies for his son and daughter.
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Benjamin Jonson (circa 11 June 1572 – 6 August 1637) was an English Renaissance dramatist, poet and actor. A contemporary of William Shakespeare, he is best known for his satirical plays, particularly Volpone, The Alchemist, and Bartholomew Fair, which are considered his best, and his lyric poems. A man of vast reading and a seemingly insatiable appetite for controversy, Jonson had an unparalleled breadth of influence on Jacobean and Caroline playwrights and poets. A house in Dulwich College is named after him.
Ben Jonson married, some time before 1594, a woman he described to Drummond as "a shrew, yet honest." His wife has not been definitively identified, but she is sometimes identified as the Ann Lewis who married a Benjamin Jonson at St Magnus-the-Martyr, near London Bridge. The registers of St. Martin's Church state that his eldest daughter Mary died in November, 1593, when she was only six months old. His eldest son Benjamin died of the plague ten years later (Jonson's epitaph to him On My First Sonne was written shortly after), and a second Benjamin died in 1635. For five years somewhere in this period, Jonson lived separate from his wife, enjoying instead the hospitality of Lord Aubigny.
By the summer of 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 Lord 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 co-written with Thomas Nashe entitled The Isle of Dogs was suppressed after causing great offence. Arrest warrants for Jonson and Nashe were subsequently issued by Elizabeth's so-called interrogator, Richard Topcliffe. Jonson was jailed in Marshalsea Prison and famously charged with “Leude and mutynous behavior”, while Nashe managed to escape to Great Yarmouth. A year later, Jonson was again briefly imprisoned, this time in Newgate Prison, for killing another man, an actor Gabriel Spenser, in a duel on 22 September 1598 in Hogsden Fields, (today part of Hoxton). While in prison, Jonson was visited by a Roman Catholic priest and converted to Catholicism. Tried on a charge of manslaughter, Jonson pleaded guilty but was subsequently released by benefit of clergy (a legal ploy through which he gained leniency by reciting a brief bible verse in Latin), forfeiting his "goods and chattels" and being branded on his left thumb.
In 1598, Jonson produced his first great success, Every Man in his Humour, capitalising on the vogue for humour plays that had been begun by George Chapman with An Humorous Day's Mirth. William Shakespeare was among the first cast. This play was followed the next year by 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 theater in the last years of Elizabeth I's reign was, unsurprisingly, marked by fighting and controversy. Cynthia's Revels was produced by the Children of the Chapel Royal at Blackfriars Theatre in 1600. It satirized both John Marston, who Jonson believed had accused him of lustfulness, probably in Histrio-Mastix, and Thomas Dekker, against whom Jonson's animus is not known. Jonson attacked the same two poets again in 1601's Poetaster. 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 recognizable from Drummond's report: boasting about himself and condemning other poets, criticizing actors' performances of his plays, and calling attention to himself in any available way.
This "War of the Theatres" appears to have been concluded 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 landed both authors in jail for a brief time.
At the beginning of the reign of James I of England in 1603, Jonson joined other poets and playwrights in welcoming the reign of 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.
Jonson flourished as a dramatist during the first decade or so of James's reign; by 1616, he had produced all the plays on which his reputation as a dramatist depends. These include the tragedy of Catiline (acted and printed 1611), which achieved only limited success, 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 appear to have been successful at once. 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. In 1603, Overbury reported that Jonson was living on Aurelian Townsend and "scorning the world."
His trouble with English authorities continued. In 1603, 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. After the discovery of the Gunpowder Plot, he appears to have been asked by the Privy Council to attempt to prevail on a certain priest to cooperate with the government; the priest he found was Father Thomas Wright, who heard Fawkes's confession(Teague, 249).
At the same time, Jonson pursued a more prestigious career as a writer of masques for James' court. The Satyr (1603) and The Masque of Blackness (1605) are but two of the some two dozen masques Jonson wrote for James or for Queen Anne; the latter was praised by 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. Perhaps partly as a result of this new career, Jonson gave up writing plays for the public theaters for a decade. Jonson later told Drummond that he had made less than two hundred pounds on all his plays together.
1616 saw a pension of 100 marks (about £60) a year conferred upon him, 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 1640-1 and 1692. [See: Ben Jonson folios.]
In 1618, Ben Jonson set out for his ancestral Scotland on foot. He spent over a year there, and the best-remembered hospitality which he enjoyed was that of the Scottish poet, Drummond of Hawthornden. 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. In the postscript added by Drummond, he is described as "a great lover and praiser of himself, a contemner and scorner of others".
The period between 1605 and 1620 may be viewed as Jonson's heyday. 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.
The 1620s begin a lengthy and slow decline for Jonson. He was still well-known; from this time dates the prominence of 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.
Jonson returned to writing regular plays in the 1620s, but these are not considered among his best. They are of significant interest for the study of the culture 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 (the Ode to Myself), which in turn prompted Thomas Carew, one of the "Tribe of Ben," to respond in a poem that asks Jonson to recognize 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. Justly or not, 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.
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 is buried in Westminster Abbey, with the inscription, "O Rare Ben Johnson," (sic) laid in the slab over his grave. It has been suggested that this could be read "Orare Ben Jonson" (pray for Ben Jonson), which would indicate a deathbed return to Catholicism, but the carving shows a distinct space between "O" and "rare". Researchers suggest that the tribute came from William D’Avenant, Jonson’s successor as Poet Laureate, as the same phrase appears on his gravestone nearby. The fact that he was buried in an upright grave is an indication of his reduced circumstances at the time of his death.
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 the 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, Mecaenas, 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 Ho 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 some signs of an accommodation with the romantic tendencies of Elizabethan comedy.
Within this general progression, however, Jonson's comic style remained constant and easily recognizable. 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. Jonson focused instead on the satiric and realistic inheritance of new comedy. He sets his plays in contemporary settings, peoples them with recognizable types, and sets them to actions that, if not strictly realistic, involve 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 Congreve, for example, judged Epicoene.) He was, moreover, 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 applies the two features of his style which save his classical imitations from mere pedantry: the vividness with which he depicts 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.
“Epigrams” (published in the 1616 folio) is an entry in a genre that was popular among late-Elizabethan and Jacobean audiences. Jonson’s epigrams explore various attitudes, most of them 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 somewhat longer and mostly addressed to specific individuals. The 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.’’
‘’Underwoods,’’ 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).
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 response, "Would he had blotted a thousand," was taken as malicious. 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 one of which (Every Man in his Humour) 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 in the present state of knowledge.
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 Jonson perceived between himself, the disciplined and erudite classicist, scornful of ignorance and skeptical 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:
For some critics, the temptation to contrast Jonson (representing art or craft) with Shakespeare (representing nature, or untutored genius) has seemed natural; Jonson himself may be said to initiate this interpretation in his poem on Shakespeare. Leonard Digges echoed this line of thought in his verses affixed to the second folio, and Samuel Butler drew the same comparison in his commonplace book later in the century.
At the Restoration, this sensed difference became a kind of critical dogma. Saint-Évremond, indeed, placed Jonson's comedies above all else in English drama, and Charles Gildon called Jonson the father of English comedy. John Dryden offered a more common assessment in the Essay of Dramatic Poesie, in which his avatar Neander compares Shakespeare to Homer and Jonson to Virgil: the former represented profound creativity, the latter polished artifice. But "artifice" was in the seventeenth century almost synonymous with "art"; Jonson, for instance, used "artificer" as a synonym for "artist" (Discoveries, 33). For Lewis Theobald, too, Jonson “ow[ed] all his Excellence to his Art,” in contrast to Shakespeare, the natural genius. Rowe, to whom may be traced the legend that Jonson owed the production of Every Man in his Humour to Shakespeare's intercession, likewise attributed Jonson's excellence to learning, which did not raise him quite to the level of genius. A consensus formed: Jonson was the first English poet to understand classical precepts with any accuracy, and he was the first to apply those precepts successfully to contemporary life. But there were also more negative spins on Jonson's learned art; for instance, in the 1750s, Edward Young casually remarked on the way in which Jonson’s learning worked, like Samson’s strength, to his own detriment. 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 unfavorably to Shakespeare. Particularly in the tragedies, with their lengthy speeches abstracted from Sallust and Cicero, Augustan critics saw a writer whose learning had swamped his aesthetic judgment.
In this period, Alexander Pope is exceptional in that he noted the tendency to exaggeration in these competing critical portraits: "It is ever the nature of Parties to be in extremes; and nothing is so probable, as that because Ben Johnson had much the most learning, it was said on the one hand that Shakespear had none at all; and because Shakespear had much the most wit and fancy, it was retorted on the other, that Johnson wanted both. For the most part, the eighteenth century consensus remained committed to the division that Pope doubted; as late as the 1750s, Sarah Fielding could put a brief recapitulation of this analysis in the mouth of a "man of sense" encountered by David Simple.
Though his stature declined during the eighteenth century, Jonson was still read and commented on throughout the century, generally in the kind of comparative and dismissive terms just described. Heinrich Wilhelm von Gerstenberg translated parts of Peter Whalley's edition into German in 1765. 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 disastrous failures of productions of Volpone and Epicoene in the early 1770s no doubt bolstered a widespread sense that Jonson had at last grown too antiquated for the contemporary public; if Jonson still attracted enthusiasts such as Earl Camden and William Gifford, he all but disappeared from the stage in the last quarter of the century.
The romantic revolution in criticism brought about an overall decline in the critical estimation of Jonson. Hazlitt refers dismissively to Jonson’s “laborious caution.” Coleridge, while more respectful, describes Jonson as psychologically superficial: “He was a very accurately observing man; but he cared only to observe what was open to, and likely to impress, the senses.” Coleridge placed Jonson second only to Shakespeare; other romantic critics were less approving. The early nineteenth century was the great age for recovering Renaissance drama. Jonson, whose reputation had survived, appears to have been less interesting to some readers than writers such as Thomas Middleton or John Heywood, who were in some senses “discoveries” of the nineteenth century. Moreover, the emphasis the romantic writers placed on imagination, and their concomitant tendency to distrust studied art, lowered Jonson's status, if it also sharpened their awareness of the difference traditionally noted between Jonson and Shakespeare. This trend was by no means universal, however; William Gifford, Jonson's first editor of the nineteenth century, did a great deal to defend Jonson's reputation during this period of general decline. 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.
In the twentieth century, Jonson’s body of work has been subject to a more varied set of analyses, broadly consistent with the interests and programmes of modern literary criticism. In an essay printed in The Sacred Wood T.S. Eliot attempts to repudiate the charge that Jonson was an arid classicist by analysing the role of imagination in his dialogue. Eliot was appreciative of Jonson's overall conception and his "surface," a view consonant with the modernist reaction against Romantic criticism, which tended to denigrate playwrights who did not concentrate on representations of psychological depth. Around mid-century, a number of critics and scholars followed Eliot’s lead, producing detailed studies of Jonson’s verbal style. At the same time, study of Elizabethan themes and conventions, such as those by E.E. Stoll and M. C. Bradbrook, provided a more vivid sense of how Jonson’s work was shaped by the expectations of his time.
The proliferation of new critical perspectives after mid-century touched on Jonson inconsistently. Jonas Barish was the leading figure in a group of critics that was appreciative of Jonson's artistry. On the other hand, Jonson received less attention from the new critics than did some other playwrights and his work was not of programmatic interest to psychoanalytic critics. But Jonson’s career eventually made him a focal point for the revived sociopolitical criticism. Jonson’s work, particularly his masques and pageants, offers significant information regarding the relations of literary production and political power, as do his contacts with and poems for aristocratic patrons; moreover, his career at the centre of London’s emerging literary world has been seen as exemplifying the development of a fully commodified literary culture. In this respect, Jonson has been seen as a transitional figure, an author whose skills and ambition led him to a leading role both in the declining culture of patronage and in the rising culture of mass consumption.
In his time, though, Jonson was at least as influential as Donne. In 1623, historian Edmund Bolton named him the best and most polished English poet. That this judgment was widely shared is indicated by the admitted influence he had on younger poets. The grounds for describing Jonson as the "father" of cavalier poets are clear: many of the cavalier poets described themselves as his "sons" or his "tribe." For some of this tribe, the connection was as much social as poetic; Herrick describes meetings at "the Sun, the Dog, the Triple Tunne." All of them, including those like Herrick whose accomplishments in verse are generally regarded as superior to Jonson's, took inspiration from Jonson's revival of classical forms and themes, his subtle melodies, and his disciplined use of wit. In all of these respects, Jonson may be regarded as among the most important figures in the prehistory of English neoclassicism.
The best of Jonson's lyrics have remained current since his time; periodically, they experience a brief vogue, as after the publication of Peter Whalley's edition of 1756. Jonson's poetry continues to interest scholars for the light it sheds on English literary history, particularly as regards politics, systems of patronage, and intellectual attitudes. For the general reader, Jonson's reputation rests on a few lyrics that, though brief, are surpassed for grace and precision by very few Renaissance poems: "On My First Sonne"; "To Celia"; "Drink to Me Only With Thine Eyes"; the poem on Penshurst; and the epitaph on boy player Solomon Pavy.
As with other English Renaissance dramatists, a portion of Ben Jonson's literary output has not survived. In addition to The Isle of Dogs (1597), the records suggest these lost plays as wholly or partially Jonson's work: Richard Crookback (1602); Hot Anger Soon Cold (1598), with Porter and Henry Chettle; Page of Plymouth (1599), with Dekker; and Robert II, King of Scots (1599), with Chettle and Dekker. 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); The Entertainment at Britain's Burse for James I (1609); and The May Lord (1613-19).
Finally, there are questionable or borderline attributions. Jonson may have had a hand in Rollo, Duke of Normandy, or The Bloody Brother, a play in the canon of John Fletcher and his collaborators. The comedy The Widow was printed in 1652 as the work of Thomas Middleton, Fletcher and Jonson, though scholars have been intensely skeptical about Jonson's presence in the play. A few attributions of anonymous plays, like The London Prodigal, have been ventured by individual researchers, but have met with cool responses.