In literature a drama genre deserves your attention. Dramas are usually called plays. Every person is made up of two parts: good and evil. Due to life circumstances, the human reveals one or another side of his nature. In drama we can see the full range of emotions : it can be love, jealousy, hatred, fear, etc. The best drama books are full of dialogue. This type of drama is one of the oldest forms of storytelling and has existed almost since the beginning of humanity. Drama genre - these are events that involve a lot of people. People most often suffer in this genre, because they are selfish. People always think to themselves first, they want have a benefit.The Alchemist by Ben Jonson (sneezy the snowman read aloud txt) 📖
- Author: Ben Jonson
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Jonson died, August 6, 1637, and a second folio of his works, which he had been some time gathering, was printed in 1640, bearing in its various parts dates ranging from 1630 to 1642. It included all the plays mentioned in the foregoing paragraphs, excepting "The Case is Altered;" the masques, some fifteen, that date between 1617 and 1630; another collection of lyrics and occasional poetry called "Underwoods," including some further entertainments; a translation of "Horace's Art of Poetry" (also published in a vicesimo quarto in 1640), and certain fragments and ingatherings which the poet would hardly have included himself. These last comprise the fragment (less than seventy lines) of a tragedy called "Mortimer his Fall," and three acts of a pastoral drama of much beauty and poetic spirit, "The Sad Shepherd." There is also the exceedingly interesting "English Grammar" "made by Ben Jonson for the benefit of all strangers out of his observation of the English language now spoken and in use," in Latin and English; and "Timber, or Discoveries" "made upon men and matter as they have flowed out of his daily reading, or had their reflux to his peculiar notion of the times." The "Discoveries," as it is usually called, is a commonplace book such as many literary men have kept, in which their reading was chronicled, passages that took their fancy translated or transcribed, and their passing opinions noted. Many passages of Jonson's "Discoveries" are literal translations from the authors he chanced to be reading, with the reference, noted or not, as the accident of the moment prescribed. At times he follows the line of Macchiavelli's argument as to the nature and conduct of princes; at others he clarifies his own conception of poetry and poets by recourse to Aristotle. He finds a choice paragraph on eloquence in Seneca the elder and applies it to his own recollection of Bacon's power as an orator; and another on facile and ready genius, and translates it, adapting it to his recollection of his fellow-playwright, Shakespeare. To call such passages—which Jonson never intended for publication—plagiarism, is to obscure the significance of words. To disparage his memory by citing them is a preposterous use of scholarship. Jonson's prose, both in his dramas, in the descriptive comments of his masques, and in the "Discoveries," is characterised by clarity and vigorous directness, nor is it wanting in a fine sense of form or in the subtler graces of diction.
When Jonson died there was a project for a handsome monument to his memory. But the Civil War was at hand, and the project failed. A memorial, not insufficient, was carved on the stone covering his grave in one of the aisles of Westminster Abbey:
"O rare Ben Jonson."
FELIX E. SCHELLING. THE COLLEGE, PHILADELPHIA, U.S.A.
The following is a complete list of his published works:—
Every Man in his Humour, 4to, 1601;
The Case is Altered, 4to, 1609;
Every Man out of his Humour, 4to, 1600;
Cynthia's Revels, 4to, 1601;
Poetaster, 4to, 1602;
Sejanus, 4to, 1605;
Eastward Ho (with Chapman and Marston), 4to, 1605;
Volpone, 4to, 1607;
Epicoene, or the Silent Woman, 4to, 1609 (?), fol., 1616;
The Alchemist, 4to, 1612;
Catiline, his Conspiracy, 4to, 1611;
Bartholomew Fayre, 4to, 1614 (?), fol., 1631;
The Divell is an Asse, fol., 1631;
The Staple of Newes, fol., 1631;
The New Sun, 8vo, 1631, fol., 1692;
The Magnetic Lady, or Humours Reconcild, fol., 1640;
A Tale of a Tub, fol., 1640;
The Sad Shepherd, or a Tale of Robin Hood, fol., 1641;
Mortimer his Fall (fragment), fol., 1640.
To Jonson have also been attributed additions to Kyd's Jeronymo,
and collaboration in The Widow with Fletcher and Middleton, and
in the Bloody Brother with Fletcher.
POEMS:
Epigrams, The Forrest, Underwoods, published in fols., 1616, 1640;
Selections: Execration against Vulcan, and Epigrams, 1640;
G. Hor. Flaccus his art of Poetry, Englished by Ben Jonson, 1640;
Leges Convivialis, fol., 1692.
Other minor poems first appeared in Gifford's edition of Works.
PROSE:
Timber, or Discoveries made upon Men and Matter, fol., 1641;
The English Grammar, made by Ben Jonson for the benefit of
Strangers, fol., 1640.
Masques and Entertainments were published in the early folios.
WORKS:
Fol., 1616, volume. 2, 1640 (1631-41);
fol., 1692, 1716-19, 1729;
edited by P. Whalley, 7 volumes., 1756;
by Gifford (with Memoir), 9 volumes., 1816, 1846;
re-edited by F. Cunningham, 3 volumes., 1871;
in 9 volumes., 1875;
by Barry Cornwall (with Memoir), 1838;
by B. Nicholson (Mermaid Series), with Introduction by
C. H. Herford, 1893, etc.;
Nine Plays, 1904;
ed. H. C. Hart (Standard Library), 1906, etc;
Plays and Poems, with Introduction by H. Morley (Universal
Library), 1885;
Plays (7) and Poems (Newnes), 1905;
Poems, with Memoir by H. Bennett (Carlton Classics), 1907;
Masques and Entertainments, ed. by H. Morley, 1890.
SELECTIONS:
J. A. Symonds, with Biographical and Critical Essay,
(Canterbury Poets), 1886;
Grosart, Brave Translunary Things, 1895;
Arber, Jonson Anthology, 1901;
Underwoods, Cambridge University Press, 1905;
Lyrics (Jonson, Beaumont and Fletcher), the Chap Books,
No. 4, 1906;
Songs (from Plays, Masques, etc.), with earliest known
setting, Eragny Press, 1906.
LIFE:
See Memoirs affixed to Works;
J. A. Symonds (English Worthies), 1886;
Notes of Ben Jonson Conversations with Drummond of Hawthornden;
Shakespeare Society, 1842;
ed. with Introduction and Notes by P. Sidney, 1906;
Swinburne, A Study of Ben Jonson, 1889.
THE ALCHEMIST TO THE LADY MOST DESERVING HER NAME AND BLOOD: LADY MARY WROTH.
Madam,
In the age of sacrifices, the truth of religion was not in the greatness and fat of the offerings, but in the devotion and zeal of the sacrificers: else what could a handle of gums have done in the sight of a hecatomb? or how might I appear at this altar, except with those affections that no less love the light and witness, than they have the conscience of your virtue? If what I offer bear an acceptable odour, and hold the first strength, it is your value of it, which remembers where, when, and to whom it was kindled. Otherwise, as the times are, there comes rarely forth that thing so full of authority or example, but by assiduity and custom grows less, and loses. This, yet, safe in your judgment (which is a Sidney's) is forbidden to speak more, lest it talk or look like one of the ambitious faces of the time, who, the more they paint, are the less themselves.
Your ladyship's true honourer,
BEN JONSON.
TO THE READER.
If thou beest more, thou art an understander, and then I trust thee. If thou art one that takest up, and but a pretender, beware of what hands thou receivest thy commodity; for thou wert never more fair in the way to be cozened, than in this age, in poetry, especially in plays: wherein, now the concupiscence of dances and of antics so reigneth, as to run away from nature, and be afraid of her, is the only point of art that tickles the spectators. But how out of purpose, and place, do I name art? When the professors are grown so obstinate contemners of it, and presumers on their own naturals, as they are deriders of all diligence that way, and, by simple mocking at the terms, when they understand not the things, think to get off wittily with their ignorance. Nay, they are esteemed the more learned, and sufficient for this, by the many, through their excellent vice of judgment. For they commend writers, as they do fencers or wrestlers; who if they come in robustuously, and put for it with a great deal of violence, are received for the braver fellows: when many times their own rudeness is the cause of their disgrace, and a little touch of their adversary gives all that boisterous force the foil. I deny not, but that these men, who always seek to do more than enough, may some time happen on some thing that is good, and great; but very seldom; and when it comes it doth not recompense the rest of their ill. It sticks out, perhaps, and is more eminent, because all is sordid and vile about it: as lights are more discerned in a thick darkness, than a faint shadow. I speak not this, out of a hope to do good to any man against his will; for I know, if it were put to the question of theirs and mine, the worse would find more suffrages: because the most favour common errors. But I give thee this warning, that there is a great difference between those, that, to gain the opinion of copy, utter all they can, however unfitly; and those that use election and a mean. For it is only the disease of the unskilful, to think rude things greater than polished; or scattered more numerous than composed.
DRAMATIS PERSONAE. SUBTLE, the Alchemist.
FACE, the Housekeeper.
DOL COMMON, their Colleague.
DAPPER, a Lawyer's Clerk.
DRUGGER, a Tobacco Man.
LOVEWIT, Master of the House.
SIR EPICURE MAMMON, a Knight.
PERTINAX SURLY, a Gamester.
TRIBULATION WHOLESOME, a Pastor of Amsterdam.
ANANIAS, a Deacon there.
KASTRIL, the angry Boy.
DAME PLIANT, his Sister, a Widow.
Neighbours.
Officers, Attendants, etc.
SCENE,—LONDON.
ARGUMENT.
H is house in town, and left one servant there;
E ase him corrupted, and gave means to know
A Cheater, and his punk; who now brought low,
L eaving their narrow practice, were become
C ozeners at large; and only wanting some
H ouse to set up, with him they here contract,
E ach for a share, and all begin to act.
M uch company they draw, and much abuse,
I n casting figures, telling fortunes, news,
S elling of flies, flat bawdry with the stone,
T ill it, and they, and all in fume are gone.
PROLOGUE.
We wish away, both for your sakes and ours,
Judging spectators; and desire, in place,
To the author justice, to ourselves but grace.
Our scene is London, 'cause we would make known,
No country's mirth is better than our own:
No clime breeds better matter for your whore,
Bawd, squire, impostor, many persons more,
Whose manners, now call'd humours, feed the stage;
And which have still been subject for the rage
Or spleen of comic writers. Though this pen
Did never aim to grieve, but better men;
Howe'er the age he lives in doth endure
The vices that she breeds, above their cure.
But when the wholesome remedies are sweet,
And in their working gain and profit meet,
He hopes to find no spirit so much diseased,
But will with such fair correctives be pleased:
For here he doth not fear who can apply.
If there be any that will sit so nigh
Unto the stream, to look what it doth run,
They shall find things, they'd think or wish were done;
They are so natural follies, but so shewn,
As even the doers may see, and yet not own.
ACT 1. SCENE 1.1.
ENTER FACE, IN A CAPTAIN'S UNIFORM, WITH HIS SWORD DRAWN, AND
SUBTLE WITH A VIAL, QUARRELLING, AND FOLLOWED BY DOL COMMON.
FACE. Believe 't, I will.
SUB. Thy worst. I fart at thee.
DOL. Have you your wits? why, gentlemen! for love—
FACE. Sirrah, I'll strip you—
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