Jonson Sentence Examples

Ben Jonson produced a skilful amalgamation of the Aulularia and the Captivi in his early play The Case is Altered (written before 1599).

The caverns in the sides of the precipice are said to have afforded Wallace and other heroes (or outlaws) refuge in time of trouble, but the old house is most memorable as the home of the poet William Drummond, who here welcomed Ben Jonson; the tree beneath which the two poets sat still stands.

The early years of Stuart London may be said to be closely linked with the last years of Elizabethan London, for the greatest men, such as Raleigh, Shakespeare and Ben Jonson, lived on into James's reign.

Ben Jonson places one of the scenes of Every Man in his Humour in Moorfields, which at the time he wrote the play had, as stated above, lately been drained and laid out in walks.

At the Mermaid Ben Jonson had such companions as Shakespeare, Raleigh, Beaumont, Fletcher, Carew, Donne, Cotton and Selden, but at the Devil in Fleet Street, where he started the Apollo Club, he was omnipotent.

A footnote (1743) explained away the allusion by making it apply to Richard Brome, the disciple of Ben Jonson.

He sold his share in the property in 1776 for £35,000, and took leave of the stage by playing a round of his favourite characters - Hamlet, Lear, Richard and Benedick, among Shakespearian parts; Lusignan in Zara, Aaron Hill's adaptation of Voltaire's Zaire; and Kitely in his own adaptation of Ben Jonson's Archer in Farquhar's Beaux' Stratagem; Abel Drugger in Ben Jonson's Alchemist; Sir John Brute in Vanbrugh's Provoked Wife; Leon in Fletcher's Rule a Wife and have a Wife.

The praises of the park and the house have been sung in Sir Philip Sidney's Arcadia, and by Ben Jonson, Edmund Waller and Robert Southey.

Ben Jonson told Drummond of Hawthornden that he would willingly have destroyed many of his own poems to be able to claim as his own Southwell's "Burning Babe," an extreme but beautiful example of his fantastic treatment of sacred subjects.

The Letters breathe the spirit of the New Comedy and the Alexandrine poets; portions of Letter 33 are almost literally translated in Ben Jonson's Song to Celia, " Drink to me only with thine eyes."

Randolph, the adopted "son" of Ben Jonson, addressed a poem of compliment to him, and became his friend, and that Feltham attacked Ben Jonson in an ode shortly before the aged poet's death, but contributed a flattering elegy to the J onsonus Virbius in 1638.

The single case of Ben Jonson sufficiently proves this.

For the relations between Bacon and Ben Jonson see The Tale of the Shakespeare Epitaphs by Francis Bacon (New York, 1888); for Bacon's poetical gifts see an article in the Fortnightly Review (March 1905).

He was supported by Ben Jonson, who has some fine Horatian epistles in his Forests (1616) and his Underwoods.

He is the subject of tragedies by Ben Jonson and P. Crebillon, and of the Rome sauvee of Voltaire.

In the Comus, sive Phagesiposia Cimmeria; Somnium (1608, and at Oxford, 1634), a moral allegory by a Dutch author, Hendrik van der Putten, or Erycius Puteanus, the conception is more nearly akin to Milton's, and Comus is a being whose enticements are more disguised and delicate than those of Jonson's deity.

Heraclius (1646), Andromede (1650), a spectacle-opera rather than a play, Don Sanche d'Aragon (1650) and Nicomede (1651) were the products of the next few years' work; but in 1652 Pertharite was received with decided disfavour, and the poet in disgust resolved, like Ben Jonson, to quit the loathed stage.

These marks of the royal favour seem to have led May to expect the posts of poetlaureate and city chronologer when they fell vacant on the death of Ben Jonson in 1637, but he was disappointed, and he forsook the court and attached himself to the party of the Parliament.

Of his relations with his brother-authors little is known; it was natural that he should exchange complimentary verses with James Shirley, and that he should join in the chorus of laments over the death of Ben Jonson.

It is at the same time commonplace enough in conception; but there is much that is charming in the descriptions, Jonson and Lyly being respectively laid under contribution in the course of the dialogue, and in one of the incidental lyrics.

Its fame as a delicacy is perpetuated by many later writers, Ben Jonson among them, and Pennant says that in his time (1766) it sold for half-a-crown or five shillings.

His lyrical poetry was mainly the product of his exile, if we are to believe Ben Jonson, who told Drummond of Hawthornden that Donne "wrote all his best pieces ere he was 25 years old."

Ben Jonson introduces Comus, in his masque entitled Pleasure reconciled to Virtue (1619), as the portly jovial patron of good cheer, "First father of sauce and deviser of jelly."