A Tale of a Tub


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A Tale of a Tub


Book Description

A Tale of a Tub is a Caroline era stage play, a comedy written by Ben Jonson. The last of his plays to be staged during his lifetime, A Tale of a Tub was performed in 1633 and published in 1640 in the second folio of Jonson's works. The plot, which unfolds on St. Valentine's Day, concerns the inept attempts of a variety of suitors to win the hand of Audrey Turfe, the daughter of a Middlesex constable. To break Audrey's engagement to John Clay the tilemaker, Squire Tub, a romantic rival, has the man falsely accused of theft. As Constable Turfe pursues the innocent man, yet another suitor, Justice Preamble, plays a comparable ruse against Squire Tub. All told, Audrey is chased after by four separate suitors, and apparently she has no particular preference among them. (She hesitates to accept Squire Tub, however, because of the social gap between them: "He's too fine for me, and has a Lady / Tub to his mother.") Amid the disorder, Pol-Marten, Lady Tub's usher, marries Audrey before the others realize it. Their marriage is celebrated with a wedding masque, also titled "A Tale of a Tub," which retells the story of the play. (In the colloquial usage of the time, a "tale of a tub" is the same as "a cock and bull story.")







Ben Jonson's Sad Shepherd


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High life below stairs


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The Alchemist


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Ben Jonson's "The Alchemist": A Retelling


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This is an easy-to-read retelling on Ben Jonson's classic comedy "The Alchemist," whose theme is the love of money.




The Selected Plays of Ben Jonson: Volume 2


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Dr Butler's edition is full and informative in its annotations and survey of criticisms to date, and cautiously respectful of Jonsonian punctuation.




Ben Jonson’s Theatrical Republics


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This timely book challenges conventional critical wisdom about the work of Ben Jonson. Looking in particular at his Jacobean and Caroline plays, it explores his engagement with concepts of republicanism. Julie Sanders investigates notions of community in Jonson's stage worlds - his 'theatrical republics' - and reveals a Jonson to contrast with the traditional image of the writer as conservative, absolutist, misogynist, and essentially 'anti-theatrical'. The Jonson presented here is a positive celebrant of the social and political possibilities of theatre.