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Ben Jonson's Masques, 1996.
Analyzes four courtly entertainments of 17th Cent. poet. Pageantry, form, purpose, dance, story line, characters, action, antimasques.
4,725 words (approx. 18.9 pages), 17 sources, $ 135.95
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From the Paper
Ben Jonson was the leading writer of courtly masques, the hybrid entertainments, part poetry and part spectacle, that flourished at the courts of James I and Charles I. Jonson's principal innovation in the genre was his development of the antimasque. The antimasque was an opening section of the performances featuring slightly relaxed decorum and providing a contrast with the elevated tone of the masque proper. To be acceptable, a formal innovation as important as the antimasque had to meet a great variety of demands that Jonson and his audience placed on this fragile art form. Though they were undeniably meant as entertainment, masques were designed to praise the sovereign, to confirm the legitimacy of the existing social order and to teach aristocratic audiences by entertaining them. It was a highly artificial and almost ephemeral form in..."
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Ben Jonson's "Workes", 2005.
Examines 17th Century dramatist, Ben Jonson's move away from the stage and toward the written work.
4,281 words (approx. 17.1 pages), 19 sources, MLA, $ 113.95
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Abstract
Ben Jonson's 1616 "Workes" embodies the central tension of Jonson's career, that between Jonson the dramatist and Jonson the "author." It is now, more or less, commonplace to think of Jonson's career in terms of a movement from the stage to the page. While this may be accurate, it is difficult to explain why Jonson turned his attention increasingly towards the printing house and away from the playhouse. This essay examines this question by looking at how the stage and the page differed for Jonson. Looking at the figurative and literal locations of the playhouses and printing houses, the paper argues that Jonson's primary motivation for becoming a poet of print was that print offered him a safer and more authoritative mode of communication from which to exhort. Jonson, after all, was a moralist at heart, and the early seventeenth-century theater was still a marginalized and contained space, whereas the printing houses were positioned more centrally while, ironically, maintaining a greater freedom from royal control. Thus, print offered Jonson a more powerful tool to effect change.
From the Paper
"A number of reasons have been suggested to explain why Jonson embraced print publication over performance. The most basic explanation is simply that Jonson sought immortality and realized that print provided a far more lasting medium than the ephemeral experience of the stage. Jonson's dedicatory poem in Shakespeare's First Folio supports this, especially when, addressing Shakespeare directly, Jonson writes: "Thou art a monument without a tomb, / And art alive still while thy book doth live, / And we have wits to read and praise to give" (22-4). Another popular reason given for Jonson's turn to printing involves his anxiety over the interpretation of his works."
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Ben Jonson, A Study in Excellence, 2002.
A bio of playwright and actor Ben Jonson.
1,650 words (approx. 6.6 pages), 5 sources, $ 62.95
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Abstract
This paper takes the reader on an exploratory journey through the life and works of 17th century playwright and actor Ben Jonson. His productions, his talents and his public dislike of William Shakespeare are all detailed.
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Ben Jonson's "Epigrams", 2002.
This paper is an in-depth analysis of Ben Jonson's 'Epigrams' containing two basic classes of epigrams-- those of praise and those of blame.
2,500 words (approx. 10.0 pages), 0 sources, $ 75.95
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Abstract
The following paper examines how Jonson's book of epigrams seeks to give each man his due. The writer examines the way in which the positive poems rest on the theory that good men have a duty to do praiseworthy things and that the poet has a reciprocal duty to praise them. The writer discusses how Jonson asserts that his epigrams are not only about how men should act toward one another, but also about what they should be in themselves.
From the Paper
"These characters can easily be imitated if one follows the attributes Jonson exposes, so one can find their faults and display examples of virtue for emulation. There has to be self-control of one";s senses, creating manly characteristics. Once self-control is obtained, others begin to recognize your standing in society. In order to obtain recognition, there must be firm allegiance of oneself to continue these manly qualities. Once you have been free from deceit, society creates a favorable impression toward your ideal. You then have obtained a high position in society, creating a prominent force. People then think of you as useful with a proposed end in mind. This person becomes highly cherished and attracts others because of their presence. They look for your presence because one is free from corruption. These characteristics are voluntary allowing for happiness inside a character because they keep their goals alive by observance of the moral laws in society. All these qualities are not obtained instantly, but develop into models creating the idea that these characters are not unique. These characters could be imitated by any willing character exposing a free manner for doing deeds fearlessly, frankly and voluntarily."
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Ben Jonson's "Volpone", 2002.
The paper comments on the developments of the betrayal of hypocrisy, corruption and the use of disguise in Act 4.
1,109 words (approx. 4.4 pages), 2 sources, MLA, $ 38.95
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Abstract
The paper focuses entirely on Act four of Ben Jonson's play "Volpone". It analyzes each character within the scene and how they fit in accordance. It also discusses developments and reoccurring themes from the previous scenes.
From the Paper
"Within the Forth Act, beginning with the sub-plot for two scenes, the audience have a coming together of all the plays? characters and additional characters in the courtroom scene. The developments of hypocrisy are quite prominent but it is the development of Mosca?s corruption, which appears to be the main feature within this Act. His constant corruption of the three gulls and indeed his corruption of the courtroom, and the advocates. The Act begins with Sir Politic Would-Be and Peregrine within the sub-plot. Although the scene is quite humorous with the ?imaginary? conspiracies that Peregrine is easily making Sir Politic believe, there is a strong sense of hypocrisy with the character of Lady Would-Be at he point in the play. She enters in Act IV Scene II, where she believes she sees her husband Sir Politic with a courtesan, i.e. Peregrine (prostitutes regularly dressed as men) ?In man?s apparel?? Lady Would-Be begins calmly but continues to fly into a somewhat rage, ?Ay you White friars nation?lewd harlot, a base fricatrice, a female devil, in a male outside.? However the element of hypocrisy is that she has no right to comment, even if it was true as it was only in Act III Scene IV where she was basically offering herself to Volpone, ?And as we find our passions do rebel?? Jonson?s point in beginning with this scene is to slow the pace of the play by adding humour and by manipulating the audience. He leaves the last act with the idea that everything is about to fall apart for the Volpone, and in effect is playing with the element of suspense. "
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The Theme of Honor in Ben Jonson's Play "Volpone", 2000.
An exploration of honor between the characters in Jonson's play "Volpone."
1,625 words (approx. 6.5 pages), 1 source, $ 52.95
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Abstract
This essay explores the notion of honor in Jonson's play "Volpone" -the manner in which the idea of honor differs from character to character and how honor motivates the characters? actions and interactions.
From the Paper
"When Ben Jonson wrote Volpone in the seventeenth century, he was unaware of the theatrical capabilities such as pyrotechnics that are available for modern play productions. Even more, Jonson could not have fathomed computer-generated graphics that are available for television and movie productions. Jonson mainly had dialogue and the characters? interactions within his grasp to create an entertaining play; he relies on the intellectual qualities of the play rather than the aesthetics. As a result, Jonson develops basic themes of mankind that convey his rare perception of human nature. One of the most fundamental themes found in this play and in nature is honor. Although humans have probably always had a notion of honor, the definition of honor and objects that contain honor vary among people and cultures. In Volpone, Jonson portrays how the idea of honor differs from character to character and how honor motivates the characters? actions and interactions."
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Ben Johnson's "Volpone", 2008.
This paper provides a deconstructive perspective on Ben Jonson's "Volpone".
2,637 words (approx. 10.5 pages), 7 sources, MLA, $ 79.95
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Abstract
This paper presents a literary analysis of the character of "Volpone" in Ben Jonson's comedy "Volpone". It reviews Ben Jonson's message by discussing Volpone's marital relationship, acquisition of wealth and the corruption of society as reflected in this literary work.
From the Paper
"Volpone's unique form of writing throughout his own comedy sees him donning many different disguises as a means of othering himself. He takes great pleasure in fooling his fellow citizens with this gag, this disruptionary tactic that manages to deceive so many. In the notorious Mountebank episodes, Volpone poses as an outsider - affecting the disguise of a traveling peddler of a miracle drug - in order to gain the attention of Corvino's attractive wife Celia. When Corvino witnesses the scene, he castigates his wife, feeling that she has participated in the "death of mine honor" (39). There is no doubt that Corvino's reaction is absurd, an overreaction to what was effectively a non-event; Celia heard a ruckus below her window, so she merely responded as any person would - through turning her gaze towards the disruptionary presence that interfered with her day to day life."
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Renaissance Masques, 2002.
A look into the masques at the time of the renaissance and the role they played for society.
2,630 words (approx. 10.5 pages), 9 sources, $ 79.95
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Abstract
This paper looks at the role that Renaissance masques played at the time. The author argues that these masques were an important aspect of society whereby they became an essential part of theater and a form of measurement of the power of men. The paper takes an in depth look at the extent that women were involved in these masques and the role they played in society.
From the Paper
"Although they have passed out of the practice of the theater ? except in the case of revivals of Renaissance or earlier productions ? masques were once an essential part of both European and English theater. They were in large measure the province of men, as was the rest of theatrical life during this period (and indeed much of the rest of public life), but women were not entirely excluded from masques either as performers or creators ? and certainly not as members of the audience. This paper explores the role that women played in the court masques of the Renaissance, looking primarily to England but also examining the role of women in Continental masques as well. "
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"Volpone", 2002.
A look at disguise, costume and role playing in Ben Jonson?s "Volpone".
1,226 words (approx. 4.9 pages), 0 sources, $ 41.95
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Abstract
Ben Jonson?s "Volpone", first performed in London in 1605, was a highly successful play centering on the theme of greed. The paper shows that "Volpone" is particularly notable for Jonson?s characters? use of disguise, costume and role playing both to advance the action of the story and to visually express Jonson?s ethical beliefs to educate his audience. The paper analyzes the different methods of disguise througout the play.
From the Paper
"Beyond the clues offered by their names, the characters in Volpone engage in role playing throughout the play. None shifts personality and character more influentially than the title character. Driven by his greed and by his love for trickery, Volpone chooses to play his game not with easily-duped victims, but rather with others like himself. Thus, while pretending to be ill for several years, with the community?s knowledge that he has no heir, Volpone accepts the good wishes and gifts of his colleagues, who offer these in the hope that they will gain Volpone?s goodwill for the giver. Mosca?s task is to convince Volpone?s acquaintances that, upon his supposedly-imminent demise, the Fox will leave all of his wealth to one or another of these would-be friends. Voltore, Corbaccio and Corvino in turn are all convinced that Volpone has named each of them as his sole heir."
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"Epicoene": An Ambivalent Comedy, 2008.
An analysis of the plot, characters, style and purpose of Ben Jonson's famous play, "Epicoene or the Silent Woman"
2,741 words (approx. 11.0 pages), 10 sources, MLA, $ 82.95
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Abstract
This paper discusses Ben Jonson's famous play, "Epicoene or The Silent Woman." The paper analyzes the plot and the characters of the play. It discusses the style in which "Epicoene or The Silent Woman" is written and its structure of an overlapping array of plots that essentially subsume one another throughout the course of the play. The paper looks at Jonson's purpose in the play and its success.
From the Paper
"There is also the sexual sub-plot, which is skillfully woven into the play. Truewit and Clerimont assert halfway through that the play seems to be a mere repetition of previous dramatic forms. But Dauphine, at the end of the play, reveals that he is one step further than the rest of the characters when he reveals Epicoene's true gender. Thus, Dauphine comes closest at this point to the role that the author, Jonson, has been playing throughout - as the author is always one step ahead of the audience. Again, Elizabethan conventions of dramatic form are exposed, ridiculed, and discarded in favor of a more open-ended, modern approach to the question of gender. An Elizabethan audience would not have questioned the fact that Epicoene was being played by a boy, as this was a norm during the Elizabethan period. But by exposing Epicoene as a transvestite at the end of the play, Dauphine - and Jonson, by extension - effectively disrupts this norm - the very sort of norm that would be upheld by Morose, who is the ultimate victim of this deception."
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The Ragnarok and "Volpone", 2005.
An examination of the Norse myth as applied to Ben Jonson's play "Volpone".
2,442 words (approx. 9.8 pages), 1 source, MLA, $ 74.95
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Abstract
An essay examining the similarities between the Norse myth of Ragnarok and the Ben Jonson play "Volpone". This paper places emphasis on the trickster natures of the 'mythical' figures of Odin, Loki, Volpone and Mosca.
From the Paper
"Ben Jonson's Volpone is a classic story about the destruction of men by their own scheming. Though the story does not directly evoke Norse mythology, the story of Volpone's downfall- concluded in a devastating punishment scene- mirrors the destruction of the Nordic gods under Odin. In Norse mythology Odin is a cunning trickster, served and aided at times by lesser trickster god named Loki. Ragnarok, the last battle of the gods which leads to their destruction, is brought about by Loki and his offspring as he seeks to supplant Odin. Volpone himself is Odin and Mosca is Loki, and it is Mosca's attempt to overthrow Volpone that leads to the destruction of himself and the majority of the characters in the play in a final cataclysmic scene. Volpone reflects the Ragnarok story and the simple motif that the attempt to rise above one's position and supplant one's betters will be destructive not only to the perpetrator, but to all those involved in the event."
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"Eastward Ho", 2002.
A review of the play "Eastward Ho" by Ben Jonson, George Chapman and John Marston.
1,248 words (approx. 5.0 pages), 0 sources, $ 42.95
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Abstract
This paper analyses the satirical play "Eastward Ho", written early in 1605- the joint creation of Ben Jonson, George Chapman and John Marston. It discusses the underlying themes throughout the play and examines their dramatic effectiveness. In particular, it reviews the Royal Shakespeare Company's (RSC) dramatisation.
From the Paper
"The final two scenes of the play take place in a prison. The prisoners are chained to the central balcony; sitting with their legs hanging through the bars leaving the audience with the definite impression these people aren?t going anywhere anytime soon. This particular piece of staging was effective as the theme of imprisonment (both physical and social) runs through the play, example including a Goldsmith?s daughter trying unsuccessfully to wed a knight in an attempt to raise her social class and the physical imprisonment of that same knight due to his poverty- another form of incarceration."
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"Upon a Ribbon", 2003.
An analysis of how Thomas Carew's poem, "Upon a Ribbon," is a classic Cavalier piece in the spirit of Ben Jonson.
1,186 words (approx. 4.7 pages), 2 sources, MLA, $ 40.95
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Abstract
This paper examines how the poet, Thomas Carew, is a classic Cavalier and how his poetry is a synthesis of both Ben Jonson's classical, elegant poetry and John Donne's metaphysical influence. In particular, it analyzes how in his poem, "Upon a Ribbon," Carew presents the ribbon in the title of his poem and immediately begins to load physical, mental, and spiritual meanings onto his metaphor until it becomes over-saturated and unmanageable. The consequence is the ribbon becomes a twisted, convoluted image that bears a plethora of meanings that do not cohere in a logical whole. It attempts to show how an examination of "Upon a Ribbon" demonstrates Carew's failure at creating a sustained, logical conceit.
From the Paper
"Carew suddenly switches from bondage to religion in the poem's next section. The ribbon becomes a holy relic and takes on religious and heretical connotations in lines 9-22. The narrator changes from the classical Jonson-like tone used in lines 1-8 to a metaphysical tone, using religious references and the startling metaphor of a blasphemous icon. The narrator states that the ribbon is not only a "holy relic" that preserves his wrist, but it provides the power to sustain his entire body (lines 9-10)."
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The 'Alchemist' and Duality, 2008.
This paper discusses the theme of duality in the play the 'Alchemist' by Ben Jonson.
2,883 words (approx. 11.5 pages), 12 sources, MLA, $ 85.95
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Abstract
In this article, the writer notes that duality in literature and drama is a common theme suggesting various relationships between people, attributes, character traits, and also suggesting the larger dictum that things are not always what they seem. The writer discusses that the 'Alchemist' is a comedy written in verse and that two of the central themes in this play are inherently shaped around ideas of duality. The first of these themes is that of illusion versus reality, again a common theme in drama and one that includes duality as how things appear is not how they truly are. This theme also shows the tendency people have to see what they want to see and to fail to perceive the true nature of people and things in this world. A second theme in this play is transformation, clearly a term related to the idea of an alchemist, who had as his primary goal changing base metals into gold, an idea that was an illusion in itself. The writer notes that in the 'Alchemist' this idea involved a deliberate duality as even the concept of alchemy itself becomes the subject of and means to a swindle, a deliberate illusion to mask the true intent of the perpetrator.
From the Paper
"The names of the characters have a duality all their own as they tend to be fitting to the real character while the character him or herself seeks to hide that fact. The three conspirators are Subtle, Face, and Dol Common, and the use of the word "subtle" in particular suggests deception. Their primary target is Sir Epicure Mammon, a man whose name represents two of the seven deadly sins, gluttony and greed. The house where the conspirators create their illusion is owned by a man named Lovewit, also suggestive of one who knows a deception is taking place and who enjoys the game of it, though in fact he has left London to escape the plague. The conspirators want to be all things to all people, so long as this will give them an advantage and enable them to fleece those who visit them. Mammon is attracted by their promise of the Philosopher's stone, a legendary artifact that can turn base metals into gold and that is the object of all alchemical inquiry. Kastril is attracted by the promise of a charm so he can win at cards. Drugger the tobacconist wants his shop cleansed of impurities and supernatural threats. The duality of the three conspirators is matched by that of Pertinax Surly, the man who sees through their deceptions and who uses a disguise of his own to investigate."
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Ben & Jerry's Homemade, Inc., 2005.
A look at the origins, development, and evolution of the famous ice cream company, Ben & Jerry's.
9,154 words (approx. 36.6 pages), 41 sources, APA, $ 189.95
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Abstract
This paper describes the beginnings of the Ben & Jerry's Ice Cream company, its mission statement, the takeover of the company by Unilever, the "caring capitalism" approach to business that Ben & Jerry's founders promoted and which was continued under the ownership of Unilever, and the reasons for the company's continued success.
Outline
Ben & Jerry's Homemade Inc.
History of Unilever
Unilever's Purchase of Ben & Jerry's
Ben & Jerry's Social Responsibilities Post-Unilever
Conclusions
From the Paper
"Jerry Greenfield and Ben Cohen, friends who happened to be hippies, decided to go into business. They did not decide on producing ice cream right away; however, all their ideas for business ventures did revolve around food (Lager, 1994). Once Jerry and Ben decided on ice cream, they were on the hunt for the ideal location and ended up in Vermont. The first Ben & Jerry's Homemade Ice Cream and Crepe shop opened May 5, 1978 (Lager, 1994; and Theroux, 1993). Surprising both Jerry and Ben, the business did so well that by the ninth day they had to close early due to lack of salable ice cream (Lager, 1994). Nevertheless, the business continued to grow even though Jerry and Ben were not astute businesspersons."
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