Gothic Romance

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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 publication explores theatrical, serious, and editorial responses to Jonson, together with his position within the post-Garrick theatre, serious estimations of his lifestyles 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 various, cellular, and contested Jonson and gives a clean point of view at the Romantic age.

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As I argue in greater detail in Chapters 3 and 4, this is partly, at least, because Jonson came to be written about critically and edited from within the patterns of late eighteenthand early nineteenth-century friendship. One index of this is the offbalance couplet from Cowley inscribed by Waldron on the verso of the front flyleaf of his interleaved, British Library copy of The Sad Shepherd: 27 The Gentleman’s Magazine, 61 (June 1791), 588; 61 (Aug. , Literary Anecdotes of the Eighteenth Century, 9 vols.

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 . . containing the loves of Amie and Karolin, Lionel and Mellifleur’. ’’ Monthly Review, Jany . 1784. Quere. ‡ ‡ It is to be observed that in the mean time between the Shepherds going home triumphing &c, and Amie being gladded with the sight of Karol, the scene of Lorel, Clarion &c occurs.

22, fol. 36v . ], The Thespian Dictionary; or, Dramatic Biography of the Eighteenth Century (London: T. ; the most recent account is Philip H. , Kalman A. Burnim, and Edward A. , A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660–1800, 16 vols. : Southern Illinois University Press, 1973–93), xv. 202–8. 9 Like many of Garrick’s actors, Waldron regularly took parts in revivals of Jonson’s plays; they were, as I argue in greater detail in the following chapter, an expected part of the repertory.

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