By Tom Lockwood

Tom Lockwood's learn is the 1st exam of Jonson's position within the texts and tradition of the Romantic age. half one of many booklet explores theatrical, serious, and editorial responses to Jonson, together with his position within the post-Garrick theatre, severe estimations of his existence and paintings, and the politically charged making and reception of William Gifford's 1816 variation 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 through which 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 assorted, cellular, and contested Jonson and provides a clean viewpoint at the Romantic age.

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Ben Jonson in the Romantic Age

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 booklet explores theatrical, severe, 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.

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Southern Illinois University Press, 1960–8), iv. 1933. , London Stage, v. 298. 12 Ibid. v. 853, 942, 1068. 13 The Monthly Review did not, advertising a review of ‘Waldron’s Edit. of Jonson’s Sad Shepherd’ (p. 48). 14 The Monthly Review, 70 (1784), 48–51; partially reprinted in D. H. , Ben Jonson: The Critical Heritage (London: Routledge, 1990), 561–3. ’15 Waldron seems to have been struck particularly by Colman’s objection that there was no Jonsonian authority for his having introduced into the close of Act III, as he put it, ‘the scene of Robin Hood’s bower .

14 Jonson’s ongoing theatrical presence and Waldron’s part in that form one of the vital contexts within which to read The Sad Shepherd in the late eighteenth century. For all that he handles them delicately, Colman’s review holds and expresses reservations about Waldron’s work, not least the prevalent good humour of the continuation. , Biographia Dramatica (1812), iii. 236–7. John Genest, Some Account of the English Stage, from the Restoration in 1660 to 1830, 10 vols. (Bath: Thomas Rodd, 1832), v.

2 Playbills are quoted, unless otherwise noted, from the collections of the Theatre Museum, London, throughout this chapter. 3 William Charles Macready, Macready’s Reminiscences, and Selections from his Diaries and Letters, ed. Sir Frederick Pollock, new edn. (London: Macmillan, 1876), 263. 4 The first purchaser of the book left no record (that survives) of his or her name, the price paid for the book, or the location in which it was purchased; but something of the purchaser’s habits of ownership can still be inferred from the object itself.

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