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Ben Jonson’s Experiment of Comical Satire in Every Man out of His Humour
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Every Man out of His Humour is Jonson’s dramaturgical experiment capitalizing on virulent popularity of satiric literature in the late 1590s. The play does not develop in a conventional plot-line of rising and falling action to which the audience is accustomed through Shakespeare’s romantic comedies. Instead, it concatenates a series of isolated episodes which are given a formal framework by the chorus. With various techniques of Brechtian alienation effects, Jonson invites the audience to adopt an analytical attitude towards his characters rather than emotional engagement with them. In doing so, Jonson’s characterization indicates an interest not so much in the inner lives of individuals but in the public interaction in social groups, and his experiment is primarily concerned with role-playing or play-acting. Through a sequence of role-playing, fools and gulls are stripped of their affected humours which include Puntarvolo’s make-believe chivalric interludes with his wife, Fustidious’s and Fungoso’s ludicrous fashion-mongering, Sogliardo’s crass social climbing, Shift’s preposterous huckstering, Deliro’s pathetic uxoriousness, Fallace’s lascivious snobbery, Saviolina’s spurious air of conceitedness, Carlo’s unrestrained scurrilous jokes, and Macilente’s lance of corrosive envy. Indeed, the audience might find it difficult to enjoy Jonson’s avowedly unconventional experiment. Whether an experimental success or failure, however, Every Man out of His Humour should be regarded as a milestone in the development of Elizabethan theatre. With the play, Jonson established himself not only as a leading satirist of the time but also as a major influence, artistic and intellectual, on the direction that comedy — city comedy in particular — was to take in the following decades.
Abstract
Every Man out of His Humour is Jonson’s dramaturgical experiment capitalizing on virulent popularity of satiric literature in the late 1590s. The play does not develop in a conventional plot-line of rising and falling action to which the audience is accustomed through Shakespeare’s romantic comedies. Instead, it concatenates a series of isolated episodes which are given a formal framework by the chorus. With various techniques of Brechtian alienation effects, Jonson invites the audience to adopt an analytical attitude towards his characters rather than emotional engagement with them. In doing so, Jonson’s characterization indicates an interest not so much in the inner lives of individuals but in the public interaction in social groups, and his experiment is primarily concerned with role-playing or play-acting. Through a sequence of role-playing, fools and gulls are stripped of their affected humours which include Puntarvolo’s make-believe chivalric interludes with his wife, Fustidious’s and Fungoso’s ludicrous fashion-mongering, Sogliardo’s crass social climbing, Shift’s preposterous huckstering, Deliro’s pathetic uxoriousness, Fallace’s lascivious snobbery, Saviolina’s spurious air of conceitedness, Carlo’s unrestrained scurrilous jokes, and Macilente’s lance of corrosive envy. Indeed, the audience might find it difficult to enjoy Jonson’s avowedly unconventional experiment. Whether an experimental success or failure, however, Every Man out of His Humour should be regarded as a milestone in the development of Elizabethan theatre. With the play, Jonson established himself not only as a leading satirist of the time but also as a major influence, artistic and intellectual, on the direction that comedy — city comedy in particular — was to take in the following decades.
참고문헌 (23)
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