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In this thought-provoking study Mardock looks at Ben Jonson's
epigrams, prose, and verse satire in order to focus on Jonson's
theatrical appropriations of London space both in and out of the
playhouse. Through this critical analysis, the author argues that
the strategies of authorial definition that Jonson pursued
throughout his career as a poet and playwright were in large part
determined by two intersecting factors: first, his complicated
relationship with London's physical places and its institutional
topography, and secondly--challenging commonplace assumptions about
Jonson's anti-theatricality--the distinctly theatrical model of
spatial practice that he brought to bear on his representation of
the urban experience. Although much criticism has focused on
Jonson's role in the emergence of modern definitions of authorship,
most has focused on the material contexts of the book trade, on the
politics of Jonson's patronage, or on Jonson's self-construction as
a neoclassical and primarily textual poet. Mardock engages with all
these considerations, but with a focus on the dramatic practices of
urban space--a growing concern among scholars of early-modern
drama--as a consistent factor in Jonson's authorial claims.
In this thought-provoking study Mardock looks at Ben Jonson's
epigrams, prose, and verse satire in order to focus on Jonson's
theatrical appropriations of London space both in and out of the
playhouse. Through this critical analysis, the author argues that
the strategies of authorial definition that Jonson pursued
throughout his career as a poet and playwright were in large part
determined by two intersecting factors: first, his complicated
relationship with London's physical places and its institutional
topography, and secondly--challenging commonplace assumptions about
Jonson's anti-theatricality--the distinctly theatrical model of
spatial practice that he brought to bear on his representation of
the urban experience. Although much criticism has focused on
Jonson's role in the emergence of modern definitions of authorship,
most has focused on the material contexts of the book trade, on the
politics of Jonson's patronage, or on Jonson's self-construction as
a neoclassical and primarily textual poet. Mardock engages with all
these considerations, but with a focus on the dramatic practices of
urban space--a growing concern among scholars of early-modern
drama--as a consistent factor in Jonson's authorial claims.
Upon opening their expensive new book in 1623, buyers of the folio
collection of William Shakespeare's plays were promised The Life of
Henry the Fifth. What they went on to read, however, was not a full
""life"" in the modern biographical sense. The battle of Agincourt
is the play's main event; every scene leads up to or follows
directly from the climax of one of England's most one-sided and
famous victories. The play's ambiguous portrayal of war has spurred
critical debate for centuries, and its performances have reflected
shifting political and cultural views. James D. Mardock's
Introduction provides an extensive discussion of Henry V's critical
and stage histories and explores the play's complex relationship
with other history plays (and with history itself). The appendices
provide materials on the play's historical background and sources,
as well as documents on contemporary warfare. Additional materials,
including an annotated text of the 1600 quarto (Q1) edition, are
available on the Internet Shakespeare Editions website.
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