Titlebook: Ben Jonson, John Marston and Early Modern Drama; Satire and the Audie Rebecca Yearling Book 2016 The Editor(s) (if applicable) and The Auth

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,Jonson and Marston: ‘I write just in thy vein, I’,e opinions of others; his own judgement is what counts. He believes that a good writer should read widely and engage in serious scholarly thought, but he is contemptuous of those who simply follow literary fads and imitate what is currently fashionable. Most poets have ‘servile imitating spirits’ (.

舊石器時(shí)代

Conclusion,ual early-modern writer and the larger social, cultural, political and economic contexts within which s/he operated. Moving away from the idea of the author-as-origin, we are developing a greater appreciation for the ways in which playwrights’ works were influenced and shaped by a multitude of exter

欲望

https://doi.org/10.1007/978-1-137-56399-6Jonson; Marston; early modern; drama; satire; audience; Renaissance; theatre; spectators; Britain; dramatist; h

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Mohammad Kashif Khan,Balakrushna Padhine’s Red Lion, in Stepney, East London. This was soon followed by a host of others: the Theatre, which opened in Shoreditch in 1576, the Curtain, also in Shoreditch, in 1577, and the Rose, on the Bankside, in 1587.

聽(tīng)覺(jué)

Discourse: The Great Inequality Debate,been an occasional, often haphazard affair, but now the experience of playgoing had been formalised and professionalised. Audiences were larger, playgoers were more sophisticated, and expectations were higher.

Parallel

https://doi.org/10.1057/978-1-137-59701-4ssue that was of particular importance to the satiric playwright, given that the efficacy of satire relies on the audience’s willingness to accept the satirist as a source of moral truth. The satiric playwright needs to find a way of making his spectators respect and agree with his judgements, in or