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Studies in Major
Literary Authors

Edited by
William E. Cain
Professor of English
Wellesley College

A Routledge Series
Studies in Major Literary Authors
William E. Cain, General Editor

The End of Learning Milton’s Uncertain Eden

Milton and Education Understanding Place in Paradise Lost
Thomas Festa Andrew Mattison

Reading and Mapping Hardy’s Roads Henry Miller and Religion

Scott Rode Thomas Nesbit

Creating Yoknapatawpha The Magic Lantern

Readers and Writers in Faulkner’s Fiction Representation of the Double in Dickens
Owen Robinson Maria Cristina Paganoni

No Place for Home The Environmental Unconscious in

Spatial Constraint and Character Flight in the the Fiction of Don DeLillo
Novels of Cormac McCarthy Elise A. Martucci
Jay Ellis
James Merrill
The Machine that Sings Knowing Innocence
Modernism, Hart Crane, and the Reena Sastri
Culture of the Body
Gordon A. Tapper Yeats and Theosophy
Ken Monteith
Influential Ghosts
A Study of Auden’s Sources Pynchon and the Political
Rachel Wetzsteon Samuel Thomas

D.H. Lawrence’s Border Crossing Paul Auster’s Postmodernity

Colonialism in His Travel Writings and Brendan Martin
“Leadership” Novels
Editing Emily Dickinson
Eunyoung Oh
The Production of an Author
Dorothy Wordsworth’s Ecology Lena Christensen
Kenneth R. Cervelli
Cormac McCarthy and the Myth of
Sports, Narrative, and Nation in the American Exceptionalism
Fiction of F. Scott Fitzgerald John Cant
Jarom Lyle McDonald
Our Scene is London
Shelley’s Intellectual System and its Ben Jonson’s City and the Space of the Author
Epicurean Background James D. Mardock
Michael A. Vicario

Modernist Aesthetics and Consumer

Culture in the Writings of Oscar Wilde
Paul L. Fortunato
 Our Scene is London
Ben Jonson’s City and the Space of the Author

James D. Mardock

New York London

First published in 2008
by Routledge
270 Madison Avenue, New York, NY 10016

Simultaneously published in the UK

by Routledge
2 Park Square, Milton Park, Abingdon Oxon, OX14 4RN

This edition published in the Taylor & Francis e-Library, 2007.

“To purchase your own copy of this or any of Taylor & Francis or Routledge’s
collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.”

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2008 Taylor & Francis

All rights reserved. No part of this book may be printed or reproduced or utilized in any form or
by any electronic, mechanical or other means, now know or hereafter invented, including photo-
copying and recording, or any other information storage or retrieval system, without permission in
writing from the publisher.

Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and
are used only for identification and explanation without intent to infringe

Library of Congress Cataloging-In-Publication data

Mardock, James D., 1974–
Our scene is London : Ben Jonson’s city and the space of the author / by James D. Mardock.
p. cm. — (Studies in major literary authors)
Includes bibliographical references and index.
ISBN 0-415-97763-0
1. Jonson, Ben, 1573?–1637—Homes and haunts—England—London. 2. Dramatists,
English—Homes and haunts—England—London. 3. Space in literature. 4. London (England)—
Social life and customs—17th century. 5. London (England)—Intellectual life—17th century.
6. London (England)—In literature. 7. Jonson, Ben, 1573?–1637. Bartholomew Fair. 8. James I,
King of England, 1566–1625—In literature. I. Title.
PR2634.M37 2008
822'.3--dc22 2007032596

ISBN 0-203-92851-2 Master e-book ISBN

ISBN10: 0-415-97763-0 (hbk)

ISBN10: 0-203-92851-2 (ebk)

ISBN13: 978-0-415-97763-0 (hbk)

ISBN13: 978-0-203-92851-6 (ebk)
For Emilie
Contents

Acknowledgments ix

Introduction 1

Chapter One
Space as Authorial Strategy 6

Chapter Two
Londinium: The 1604 Royal Entry of James I 23

Chapter Three
London on Stage, London as Stage 45

Chapter Four
Jonson’s Plague Year Plays 67

Chapter Five
“Practisers of their madnesse”:
Bartholomew Fair and the Space of the Author 95

Epilogue
Beyond the 1616 Folio 110

Notes 117

Bibliography 147

Index 157

vii
Acknowledgments

Parts of this book originated as a dissertation at the University of Wisconsin

under the directorship of Heather Dubrow, whose unstinting rigor, profes-
sionalism, and energy as a director, mentor, and friend made the project pos-
sible. Various versions of the arguments herein have benefited from the critical
eyes and comments of Alex Block, Justin Gifford, Marissa Greenberg, Adam
Kitzes, David Loewenstein, Eric Rasmussen, Carol Rutter, Aaron Santesso,
Henry Turner, Stanley Wells, Susanne Wofford, and especially Jane Rickard.
Portions of the book have been presented in abbreviated form at
Shakespeare Association of America seminars organized by Jean Howard
and Crystal Bartolovich, Nora Johnson, Martin Butler, and Catherine Rich-
ardson, and I am indebted to the other participants in those seminars for
their insightful responses. Chapter two, in a somewhat different form, was
presented to the Princeton British Studies Seminar, for which opportunity
I am grateful to Peter Lake and Bill Jordan. The book has benefited from
generous grants from the University of Wisconsin, the University of War-
wick, and Ripon College, and I am likewise indebted for support—moral,
emotional, and scholarly—to my friends and colleagues, at Wisconsin (par-
ticularly Alex Block and Jesse Wolfe), at Ripon, at Warwick, and especially
at the University of Nevada, where my own friendly authorial competition
with Chris Coake helped impel the production of these pages.
I would be remiss as an author if I did not acknowledge the role of
place in this book’s production, and so I would also like to thank the Fair
Trade Coffee House in Madison, Seasons Café in Ripon, and the Bibo Cof-
fee Company in Reno, for providing me with tables and caffeine. Finally,
thanks to my family for their unflagging support over the years, and to
Emilie Meyer, whose love, encouragement, and ability to maintain a long-
term perspective have been indispensable. Beggar that I am, I am even poor
in thanks, and yet I thank you.

ix
Introduction

[Jonson’s] drama is deeply invested in the rhythms, meanings and struc-

tures of the metropolis, and his works are imbued with and shaped by
urban topographies: the urban experience was the single most determin-
ing factor of his career.
Martin Butler1

“Our scene is London,” proclaims the prologue to Ben Jonson’s The Alche-
mist, “‘cause we would make known, / No country’s mirth is better than our
own” (Prologue 5–6). While ironically undercut by its cheerfully amoral
attitude toward the subject matter that the early modern English metropolis
provides—“your whore, / Bawd, squire, impostor, many persons more” (7–
8)—the literary jingoism of these lines is not completely disingenuous. The
London scene is crucial to Jonson’s career-spanning project of self-celebra-
tion, self-promotion, and self-fashioning. In examining Jonson’s uses and rep-
resentations of London, its places and its spaces, I participate in an ongoing
and vigorous response to Steven Mullaney’s call, nearly two decades ago, for
a rhetoric of space in early modern London, and in the critical examination
of the drama’s role in producing that rhetoric.2 The last four years alone have
seen excellent studies—by Andrew Hiscock, Russell West, Henry Turner,
and Jean Howard, to name a few—exploring the intersections between Lon-
don’s urbanization, changes in the early modern spatial paradigm, cartogra-
phy and other practical spatial arts, and English dramatic practices. My own
book will argue not only that Jonson’s representational engagements with
the city of London potently shaped the early-modern urban experience, but
that his consciously theatrical authoring of the city aided the emergence a
new authorial subjectivity, a new idea of the author.
Most recent studies of the development of early modern dramatic
authorship have focused on textual, not theatrical matters: on authorial nego-
tiations with readership, apparatuses of state and religious censorship, systems
of patronage, and the market for books. Douglas A. Brooks, for example,
building on the work of bibliographers including Richard C. Newton and

1
2 Our Scene is London

Alexandra Halasz, focuses on the practices of the printing house, on the

interventions of individual authors like Jonson in the stationers’ craft, and
on their participation in the marketing of their work;3 Brooks argues that
it is “the circulation and publication of dramatic texts” that “contributed to
. . . the construction of proto-modern notions of authorship.”4 Joseph Loew-
enstein carries this focus forward in his recent dual studies of the history of
intellectual property and plagiarism, arguing that the modern author, in the
sense of a writer who maintains ownership over his work, arises from the
competition between the stationers and the players over the rights to play-
texts.5 Other work, like Richard Helgerson’s Self-Crowned Laureates, is less
materialist in its methodology, but still focuses on texts rather than dramatic
practices. Helgerson’s treatment of Jonson, like that of Spenser and Milton,
discusses the poet’s authorial claims as inscribed on a readership, molding an
authorial identity out of the differing assumptions of coterie manuscript cul-
ture and print transmission.6
The concerns of these valuable studies with the production of the
material text have tended, understandably, to produce a narrative of Jonson’s
career that centers on its most lasting textual achievement, the Folio Workes
of 1616. Jonson was, if not the first playwright to insist on seeing his plays
through publication, certainly the most vociferous when it came to protect-
ing his proprietary rights to his work, and the meticulously prepared 1616
Folio is his most overt attempt to create a lasting monument to his achieve-
ment as a poet.
But this, I will argue, is only one aspect of his authorial innovation.
Covering Jonson’s career from the accession of King James I to 1616, the
years during which he was planning and preparing the Folio, this book will
delineate a different narrative with regard to his self-construction as author.
During these years, and beyond, Jonson pursued another authorial strategy,
in parallel with the monumentalizing project that culminated in the 1616
Workes, a strategy dependent less upon written text than upon space. Despite
his often-cited protestations of loathing for the public stages that provided
his livelihood for much of his career, Jonson exercised as much care in estab-
lishing control over the spatial laboratory that the playhouse provided, and
over the theatrically represented space of his city, as he did in shaping the
textual presentation of his work. Jonson’s poetry, his criticism, and especially
his drama establish a range of poetic and rhetorical engagements with space
that contributes to his model of the author.
Like most studies of the history of authorship, this book treats the
early seventeenth century as an important transitional period.7 My par-
ticular focus, however, is on how that transition was effected through the
Introduction 3

intersection of two factors: Jonson’s role in the development of English

drama, and a set of concurrent epistemological shifts—in the ways Lon-
doners conceived of their city, in their experience of drama and its relation
to their everyday lives, and in their methods for comprehending space and
the lived environment. At the turn of the seventeenth century, London was
changing both geographically and conceptually. The sixteenth century
had seen the city’s population quintuple, to around 200,000 at the acces-
sion of King James I in 1603. The civic government was faced increasingly
with problems of overcrowding, plague, and crime and, after a century of
responding to Tudor encroachments on its power, now had to negotiate a
new relationship with an unknown Scottish king. As Raymond Williams
argues, seventeenth century London saw the origin of the modern idea of
the city as a “distinctive order of settlement, implying a whole different
way of life,”8 and the social and demographic changes that accompanied
this paradigm shift also brought with them a disturbing epistemological
uncertainty, as Jean Howard notes:

rapid physical expansion made the city less easy to know in its
entirety—“know” not just in the sense of having familiarity with the
streets and buildings of various districts but also in the sense of having
a conceptual image of the activities imagined to characterize these new
areas and the kinds of people who inhabited them.9

In this context, the writers of Jacobean London were largely concerned with
defining what it meant to live in (and rule over) the newly “British” capital.
Significantly, Jacobean London also brought an effective end to the tra-
dition of touring theater in England, already declining late in Elizabeth’s
reign, as playing companies became a primarily and almost exclusively
urban phenomenon. London’s dramatic poets advanced the development of
the theater business under the city’s occasionally hostile regulatory author-
ity, but they also wrote plays for citizen audiences and devised entertain-
ments for the civic government. The establishment of permanent urban
playhouses and the accompanying explosion of dramatic production helped
form a response to the new English urban experience, providing a mode of
representation based on the individual’s experience of the spatial environ-
ment as a form of interpretation.10
In other modes of literature, the author’s processes can arguably be
divorced from the personal or sociopolitical processes of place-making, but
place and space are integral to the production of drama, since for the dra-
matist meaning is achieved in part through bodies in space. The practices
4 Our Scene is London

of place and space, that is, form for dramatic authors a syntax and vocabu-
lary as important as those of language. Moreover, the conventions of stages
both public and private in early modern London—bare of all but the most
portable scenery, with setting entirely established by dialogue—foreground
the role of the individual in producing and interpreting space.11 The envi-
ronmental poetics that emerged from Jonson’s employment of and reflection
on the dramatist’s potential to shape space—not only the space of the stage,
but the space of the city—deserves consideration alongside textual and
material factors in the development of authorship.
With this in mind, I trace Jonson’s career from 1604 to 1616, dem-
onstrating the ways in which Jonson consistently asserted his authorial
identity by foregrounding drama’s power to represent space, a project that
ran alongside, if sometimes seemingly at odds with, the concern with tex-
tual self-monumentalization that culminated in the Folio. My first chapter
demonstrates how intricately these two strategies could be related, and also
illustrates Jonson’s lifelong interest in spatial poetics, even in non-dramatic
poetry like the scatological mock epic “On the Famous Voyage.” Chapter
two turns to a very different Jonsonian portrait of London, and examines
what I argue was a transitional moment in Jonson’s career, his employment
(along with Thomas Dekker) to produce the pageants celebrating the newly
crowned King James’s royal entry into London in 1604. I argue that from
his competition with Dekker, played out in the matrix of London’s tem-
porary transformation into stage space, Jonson gained an awareness of the
potential for dramatic control over urban space as a tool for the assertion of
authorial agency.
The remainder of the book turns to the representation of London
onstage in Jonson’s London comedies, where, as I argue in chapter three,
individual virtue is shown to be analogous to the character’s mode of inhab-
iting and moving through the space of the city. In the revised Every Man in
His Humor (1605?-1616?) and the collaborative Eastward Ho (1605), Jon-
son established a model of urban cultural competency that depends on one’s
ability to apply a playwright’s representational practices to the city’s places.
When he returned to London comedy after a four-year hiatus following
Eastward Ho, Jonson was able to refine this model further, staging his char-
acters’ own dramaturgical manipulations of urban space in order implic-
itly to foreground his own authorial practices. The subjects of my fourth
chapter, Epicoene (1609) and The Alchemist (1610), two plays written dur-
ing the closure of the playhouses during seventeenth-century London’s lon-
gest-lasting plague visitation, present an implicit competition for dramatic
authority between the characters in his plays and Jonson himself. Finally,
Introduction 5

I turn to Bartholomew Fair (1614), a play omitted from the Folio but cru-
cial to Jonson’s alternate, spatial, authorial strategy. Chapter five reads that
play—in which Jonson implicitly inserts himself into the dramatic fiction
and explicitly into the playhouse itself—as Jonson’s fullest articulation of
spatial authorship and of the potential for considerations of urban and the-
atrical space to express his poetic ideals.
In recognizing the part that space plays in what David Riggs calls
Jonson’s “extraordinary campaign to secure his authorial prerogatives,” I am
not necessarily arguing that that campaign was “successful” in some essen-
tial sense.12 After Wimsatt and Beardsley questioned the relevance of autho-
rial intention, after Barthes wrote the author’s obituary, and after Foucault
replaced him with a function, we may be forever beyond the naïve assump-
tion that claims of authorial agency are ever successful.13 But neither can we
ignore the existence of those claims if we wish to historicize authorship as an
idea. Barthes’s famous declaration of the author’s death was wishful thinking
as much as a statement of what has happened; he acknowledges that “[t]he
author still reigns in histories of literature.”14 And for Foucault, if the histori-
cal author is always in the act of disappearing into the “author function,” he
remains a “necessary or constraining figure.”15 At any rate, my arguments
do not depend on a reactionary reassertion of or submission to the tyranny
of the author, but rather on the view that Jonson’s claims—“successful” or
not—to a privileged role as maker and interpreter of the meanings of Lon-
don expand and color our sense of what counts as text, of what counts as
authorial practice, and of what constitutes an assertion of authorial agency.
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