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  • Chapter 6 - Jonson and the Friends of Liberty

  • from Part II - Jonson’s Early Reception
  • Edited by Martin Butler, University of Leeds, Jane Rickard, University of Leeds
  • Book:
    Ben Jonson and Posterity
    Published online:
    24 September 2020
    Print publication:
    08 October 2020, pp 125-146

  • Summary

    This essay explores the particular forms that Jonsonian politics took across the period from the 1790s to the 1830s through two detailed case studies. The first explores the uses of Jonson made by the radical lecturer and political reformer, John Thelwall, from 1794–6. Thelwall offers a reading of a public Jonson whose presence in the lecture room and in political pamphlets is vitally connected with the discourses of political possibility made available by and in this post-Revolutionary moment in English history. The second case study explores contrastingly private uses of Jonson made by Charles Lamb, a writer who for a long time was sweetened by his posthumous reception into a far less political, engaged and awkward writer than he should now seem. Lamb’s annotated copy of the Jonson third folio is for the first time available to study after its purchase by Princeton University Library. The essay suggests that these annotations have their origin in the moment of mid-1790s protest to which Thelwall’s Jonson had belonged, and in which Lamb, too, played a part. Over the course of his many returns to reading Jonson, Lamb inscribes a Romantic politics in Jonson’s margins, a politics that today may have renewed relevance.

The Merchant of Venice
  • 3rd edition
  • William Shakespeare
  • Edited by M.M. Mahood
  • Introduction by Tom Lockwood
  • Published online:
    16 August 2019
    Print publication:
    19 April 2018
  • For this updated edition of one of Shakespeare's most problematic plays, Tom Lockwood has added a new introductory section on the latest scholarly trends, performance and adaptation practices which have occurred over the last two decades. Investigating the latest critical frames through which the play has been interpreted, the updated introduction also focuses on recent international performances on stage and screen (including Al Pacino's performances on film and in Daniel Sullivan's production in New York, the Habima National Theatre's production for the Globe to Globe Festival, Jonathan Munby's touring production for the Globe performed in London, New York and Venice, and Rupert Goold's production for the Royal Shakespeare Company). Finally, new forms of adaptation are considered: a performance transposed to the different generic mode of a New York auction room, and the remaking of the play in Howard Jacobson's 2016 novel, Shylock Is my Name.

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