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{{Short description|English playwright, poet, and actor (1572–1637)}}
{{hatnote group|
{{similar names|Ben Johnson (disambiguation){{!}}Ben Johnson}}
}}
{{Use British English|date=January 2014}}
{{Use dmy dates|date=January 2014}}
{{Infobox writer
| name             = Ben Jonson
| image            = Benjamin Jonson by Abraham van Blyenberch.jpg
| caption          = Portrait by [[Abraham Blyenberch]], {{c.|1617}}; oil&nbsp;on&nbsp;canvas painting at the {{awrap|[[National Portrait Gallery, London]]}}
| birth_date       = {{circa}} 11 June 1572
| birth_place      = England
| death_date       = 18 August 1637 (aged 65)
| death_place      = London, England
| occupation       = {{hlist|Playwright|poet}}
| signature        = Ben Jonson Signature.svg
| birth_name       = Benjamin Jonson
| language         = [[Early Modern English]]
| period           = Before 1597{{snd}}1637
| movement         = [[English Renaissance]]
| alma_mater       = [[Westminster School]]
| spouse           = {{marriage|Ann Therese Lewis|1594}}
| children         = 3
| resting_place    = [[Westminster Abbey]]
}}

'''Benjamin Jonson''' ({{Circa}} 11 June 1572 – {{Old style date|18 August|1637|6 August}}) was an English playwright and poet. Jonson's artistry exerted a lasting influence on English poetry and stage comedy. He popularised the [[comedy of humours]]; he is best known for the [[satire|satirical]] plays ''[[Every Man in His Humour]]'' (1598), ''[[Volpone|Volpone, or The Fox]]'' ({{circa|1606}}), ''[[The Alchemist (play)|The Alchemist]]'' (1610) and ''[[Bartholomew Fair (play)|Bartholomew Fair]]'' (1614) and for his [[Lyric poetry|lyric]] and [[epigram]]matic poetry.{{sfn|Ward|1911}} He is regarded as "the second most important English dramatist, after [[William Shakespeare]], during the reign of [[James VI and I|James I]]."<ref name=":2">The Editors of Encyclopaedia Britannica (12 June 2024). [https://web.archive.org/web/20240712095339/https://www.britannica.com/biography/Ben-Jonson-English-writer "Ben Jonson"]. ''[[Encyclopedia Britannica]]''. Archived from [https://www.britannica.com/biography/Ben-Jonson-English-writer the original] on 12 July 2024.</ref>

Jonson was a [[Classics|classically educated]], well-read and cultured man of the [[English Renaissance]] with an appetite for controversy (personal and political, artistic and intellectual) whose cultural influence was of unparalleled breadth upon the playwrights and the poets of the [[Jacobean era]] (1603–1625) and of the [[Caroline era]] (1625–1642).<ref name="autogenerated388">"Ben Jonson", ''Grolier Encyclopedia of Knowledge'', volume 10, p. 388.</ref><ref name="StewartHarp2000">{{Cite book |last=Evans |first=Robert C |year=2000 |editor=Harp, Richard |editor2=Stewart, Stanley |title=The Cambridge companion to Ben Jonson |publisher=Cambridge University Press |location=Cambridge, England |isbn=0-521-64678-2 |pages=[https://archive.org/details/cambridgecompani00harp_0/page/189 189–202] |chapter=Jonson's critical heritage |chapter-url=https://archive.org/details/cambridgecompani00harp_0/page/189 }}</ref>

==Early life==
{{Moresources|section|date=October 2022}}
[[File:William Camden by Marcus Gheeraerts the Younger.jpg|thumb|right|250px|[[Westminster School]] master [[William Camden]] cultivated the artistic genius of Ben Jonson.]]
[[File:Attributed to Abraham van Blijenberch - William Drummond of Hawthornden, 1585 - 1649. Poet - Google Art Project.jpg|thumb|right|250px|The Scottish poet [[William Drummond of Hawthornden]] was friend and confidant to Jonson.]]
Jonson was born in June 1572{{Sfn|Bland|2004|p=385}}—possibly on the 11th<ref name=":2" /><ref name=":3">{{cite web |last=Ghazi |first=Ahmed |title=Ben Jonson - Bibliotheca Alexandrina |url=https://www.bibalex.org/libraries/presentation/static/Jonson_Ben_eng_1302.pdf}}</ref><ref name="ID2008" />—in or near London. In midlife, Jonson said his paternal grandfather, who "served King Henry {{As written|8}} and was a gentleman",<ref name="ID2008"/> was a member of the extended Johnston family of [[Annandale, Dumfries and Galloway|Annandale]] in the [[Dumfries and Galloway]], a genealogy that is attested by the three spindles ([[rhombus|rhombi]]) in the Jonson family [[coat of arms]]: one spindle is a diamond-shaped [[Heraldry|heraldic]] device used by the Johnston family. His ancestors spelt the family name with a letter "t" (Johnstone or Johnstoun). While the spelling had eventually changed to the more common "Johnson", the playwright's own particular preference became "Jonson".<ref>[https://universitypublishingonline.org/cambridge/benjonson/k/essays/jonsons_life_essay/] Donaldson, Ian. "Life of Ben Jonson". ''The Cambridge Edition of the Works of Ben Jonson Online''. Cambridge University Press. Accessed 11 June 2021</ref>

Jonson's father lost his property, was imprisoned, and, as a Protestant, suffered [[forfeiture (law)|forfeiture]] under [[Mary I of England|Queen Mary]]. Becoming a clergyman upon his release, he died a month before his son's birth.<ref name="ID2008"/> His widow married a master [[bricklayer]] two years later.<ref name="Robert Chambers, Book of Days">Robert Chambers, Book of Days</ref><ref>"Ben Jonson", ''Encyclopædia Britannica'', 15th edition, p. 611</ref> Jonson attended school in [[St Martin's Lane]] in London.{{sfn|Ward|1911}} Later, a family friend paid for his studies at [[Westminster School]], where the [[antiquarian]], historian, [[topographer]] and [[officer of arms]] [[William Camden]] (1551–1623) was one of his masters. The pupil and master became friends, and the intellectual influence of Camden's broad-ranging scholarship upon Jonson's art and [[style (fiction)|literary style]] remained notable, until Camden's death in 1623. At Westminster School he met the Welsh poet [[Hugh Holland]], with whom he established an "enduring relationship".<ref>{{Cite web |last=Sutton |first=Dana F. |date=October 10, 2019 |title=Introduction |url=https://philological.cal.bham.ac.uk/holland/intro.html |website=Hugh Holland, Complete Poetry. A Hypertext Edition}}</ref> Both of them would write preliminary poems for [[William Shakespeare]]'s [[First Folio]] (1623).

On leaving Westminster School in 1589, Jonson attended [[St John's College, Cambridge]], to continue his book learning. However, because of his unwilled apprenticeship to his bricklayer stepfather, he returned after a month.<ref name="autogenerated388"/><ref name="Robert Chambers, Book of Days"/> According to the churchman and historian [[Thomas Fuller]] (1608–61), Jonson at this time built a garden wall in [[Lincoln's Inn]]. After having been an apprentice bricklayer, Jonson went to the [[Netherlands]] and volunteered to soldier with the English regiments of Sir [[Francis Vere]] (1560–1609) in [[Flanders]]. England was allied with the Dutch in their [[Eighty Years' War|fight for independence]] as well as the [[Anglo-Spanish War (1585–1604)|ongoing war with Spain]].

The ''Hawthornden Manuscripts'' (1619), of the conversations between Ben Jonson and the poet [[William Drummond of Hawthornden]]{{sfn|Ward|1911}} (1585–1649), report that, when in Flanders, Jonson engaged, fought and killed an enemy soldier in [[single combat]], and took for trophies the weapons of the vanquished soldier.<ref name=Hawthornden>{{Cite book |last=Drummond |first=William |year=1619 |title=Heads of a Conversation betwixt the Famous Poet Ben Johnson and William Drummond of Hawthornden, January 1619 |url=https://books.google.com/books?id=ubHPBcMk2OMC&q=%22William+Drummond%22+jonson}}</ref> 

Johnson is reputed to have visited the antiquary [[Sir Robert Cotton, 1st Baronet, of Connington|Sir Robert Cotton]] at a residence of his in [[Chester]] early in the 17th century.<ref>{{Cite book |last=Quincey |first=Thomas De |url= |title=Confessions of an English Opium Eater: And Other Writings |date=2003-03-27 |publisher=Penguin Classics |isbn=978-0-14-043901-4 |editor-last=Milligan |editor-first=Barry |edition=Revised |language=English}}</ref>

After his military activity on the Continent, Jonson returned to England and worked as an actor and as a playwright. As an actor, he was the protagonist "Hieronimo" (Geronimo) in the play ''[[The Spanish Tragedy]]'' ({{circa|1586}}), by [[Thomas Kyd]] (1558–94), the first [[revenge tragedy]] in English literature. By 1597, he was a working playwright employed by [[Philip Henslowe]], the leading producer for the English public theatre; by the next year, the production of ''[[Every Man in His Humour]]'' (1598) had established Jonson's reputation as a dramatist.<ref>"Ben Jonson", ''Encyclopædia Britannica'', 15th edition, p. 611</ref><ref>"Thomas Kyd", ''Grolier Encyclopedia of Knowledge'', volume 11, p. 122.</ref>

Jonson described his wife to William Drummond as "a shrew, yet honest". The identity of Jonson's wife is obscure, though she sometimes is identified as "Ann Lewis", the woman who married a Benjamin Jonson in 1594, at the church of [[St Magnus-the-Martyr]], near [[London Bridge]].<ref name="autogenerated612">"Ben Jonson", ''Encyclopædia Britannica'', 15th edition, p. 612.</ref>

The registers of [[St Martin-in-the-Fields]] record that Mary Jonson, their eldest daughter, died in November 1593, at six months of age. A decade later, in 1603, Benjamin Jonson, their eldest son, died of [[bubonic plague]] when he was seven years old, upon which Jonson wrote the elegiac "[[On My First Sonne]]" (1603). A second son, also named Benjamin Jonson, died in 1635.<ref>Thomas Mason, [https://archive.org/details/registerofbaptis00stma/page/40/mode/2up ''A register of baptisms, marriages, and burials in the parish of St. Martin in the Fields'' (London, 1898), p. 40]</ref>

During that period{{clarify|date=October 2022}}, Jonson and his wife lived separate lives for five years; Jonson enjoyed the residential hospitality of his patrons,  [[Esme Stuart, 3rd Duke of Lennox|Esme Stuart, 3rd Duke of Lennox and 7th Seigneur d'Aubigny]] and Sir Robert Townshend.<ref name="autogenerated612"/>

==Career==
By summer 1597, Jonson had a fixed engagement in the [[Admiral's Men]], then performing under [[Philip Henslowe]]'s management at [[The Rose (theatre)|The Rose]].{{sfn|Ward|1911}} [[John Aubrey]] reports, on uncertain authority, that Jonson was not successful as an actor; whatever his skills as an actor, he was more valuable to the company as a writer.<ref>{{cite journal|last1=Bowers|first1=Fredson T.|title=Ben Jonson the Actor|journal=Studies in Philology|date=July 1937|volume=34|issue=3|pages=392–406|jstor=4172372}}</ref>

By this time Jonson had begun to write original plays for the Admiral's Men; in 1598 he was mentioned by [[Francis Meres]] in his ''Palladis Tamia'' as one of "the best for tragedy."{{sfn|Ward|1911}} None of his early tragedies survive, however. An undated comedy, ''[[The Case is Altered]]'', may be his earliest surviving play.<ref>{{cite book|last=Miola|first=Robert S.|year=2012|title=The Cambridge Edition of the Works of Ben Jonson|publisher=Cambridge University Press|location=Cambridge, UK|chapter=The Case Is Altered, Introduction}}</ref>

In 1597, a play which he co-wrote with [[Thomas Nashe]], ''[[The Isle of Dogs (play)|The Isle of Dogs]]'', was suppressed after causing great offence. Arrest warrants for Jonson and Nashe were issued by Queen [[Elizabeth I]]'s so-called interrogator, [[Richard Topcliffe]]. Jonson was jailed in [[Marshalsea Prison]] and charged with "Leude and mutynous behaviour", while Nashe managed to escape to [[Great Yarmouth]]. Two of the actors, [[Gabriel Spenser]] and Robert Shaw, were also imprisoned. A year later, Jonson was again briefly imprisoned, this time in [[Newgate Prison]], for killing Gabriel Spenser in a [[duel]] on 22 September 1598 in Hogsden Fields<ref name=Hawthornden/> (today part of [[Hoxton]]). Tried on a charge of [[manslaughter]], Jonson pleaded guilty but was released by [[benefit of clergy]],{{sfn|Ward|1911}} a legal ploy through which he gained leniency by reciting a brief Bible verse (the [[neck-verse]]), forfeiting his "goods and chattels" and being branded with the so-called Tyburn T on his left thumb.{{sfn|Ward|1911}}

While in jail Jonson converted to Catholicism, possibly through the influence of fellow-prisoner Father [[Thomas Wright (writer)|Thomas Wright]], a [[Jesuit]] priest.<ref name="ID2008">{{Cite ODNB |last=Donaldson |first=Ian |year=2008 |title=Oxford Dictionary of National Biography |location=Oxford, England |chapter=Benjamin Jonson (1572–1637) |doi=10.1093/ref:odnb/15116|title-link=Oxford Dictionary of National Biography }}</ref>

In 1598 Jonson produced his first great success, ''[[Every Man in His Humour]]'', capitalising on the vogue for humorous plays which [[George Chapman]] had begun with ''[[An Humorous Day's Mirth]]''. [[William Shakespeare]] was among the first actors to be cast. Jonson followed this in 1599 with ''[[Every Man out of His Humour]]'', a pedantic attempt to imitate [[Aristophanes]].{{non sequitur|date=December 2023}} It is not known whether this was a success on stage, but when published it proved popular and went through several editions.{{Citation needed|date=September 2016}}

Jonson's other work for the theatre in the last years of Elizabeth I's reign was marked by fighting and controversy. ''[[Cynthia's Revels]]'' was produced by the [[Children of the Chapel]] Royal at [[Blackfriars Theatre]] in 1600. It satirised both [[John Marston (playwright)|John Marston]], who Jonson believed had accused him of lustfulness in ''[[Histriomastix (play)|Histriomastix]]'', and [[Thomas Dekker (writer)|Thomas Dekker]]. Jonson attacked the two poets again in ''[[Poetaster (play)|Poetaster]]'' (1601). Dekker responded with ''[[Satiromastix]]'', subtitled "the untrussing of the humorous poet".{{sfn|Ward|1911}} The final scene of this play, while certainly not to be taken at face value as a portrait of Jonson, offers a caricature that is recognisable from Drummond's report – boasting about himself and condemning other poets, criticising performances of his plays and calling attention to himself in any available way.{{Citation needed|date=September 2016}}

This "[[War of the Theatres]]" appears to have ended with reconciliation on all sides. Jonson collaborated with Dekker on a pageant welcoming [[James I of England|James I]] to England in 1603 although Drummond reports that Jonson called Dekker a rogue. Marston dedicated ''[[The Malcontent]]'' to Jonson and the two collaborated with Chapman on ''[[Eastward Ho!]]'', a 1605 play whose anti-Scottish sentiment briefly landed both Jonson and Chapman in jail.<ref>{{cite journal|last1=Gossett|first1=Suzanne|title=Marston, Collaboration, and 'Eastward Ho!'|journal=Renaissance Drama|date=2004|volume=33|pages=181–200|jstor=41917391|series=New series|doi=10.1086/rd.33.41917391|s2cid=191392739}}</ref>

==Royal patronage==
At the beginning of the English reign of [[James VI and I]] in 1603 Jonson joined other poets and playwrights in welcoming the new king. Jonson quickly adapted himself to the additional demand for [[masque]]s and entertainments introduced with the new reign and fostered by both the king and his consort{{sfn|Ward|1911}} [[Anne of Denmark]]. In addition to his popularity on the public stage and in the royal hall, he enjoyed the patronage of aristocrats such as [[Roger Manners, 5th Earl of Rutland|Elizabeth Sidney]] (daughter of [[Philip Sidney|Sir Philip Sidney]]) and [[Lady Mary Wroth]]. This connection with the Sidney family provided the impetus for one of Jonson's most famous lyrics, the [[country house poems|country house poem]] ''To [[Penshurst Place|Penshurst]]''.

In February 1603 [[John Manningham]] reported that Jonson was living on Robert Townsend, son of [[Roger Townshend (died 1590)|Sir Roger Townshend]], and "scorns the world."<ref name=":0">{{Harvnb|Donaldson|2011|p=428}}</ref> Perhaps this explains why his trouble with English authorities continued. That same year he was questioned by the [[Privy Council of England|Privy Council]] about ''[[Sejanus His Fall|Sejanus]]'', a politically themed play about corruption in the Roman Empire. He was again in trouble for topical allusions in a play, now lost, in which he took part. Shortly after his release from a brief spell of imprisonment imposed to mark the authorities' displeasure at the work, in the second week of October 1605, he was present at a supper party attended by most of the [[Gunpowder Plot]] conspirators. After the plot's discovery, he appears to have avoided further imprisonment; he volunteered what he knew of the affair to the investigator [[Robert Cecil, 1st Earl of Salisbury|Robert Cecil]] and the Privy Council. Father Thomas Wright, who heard Fawkes's confession, was known to Jonson from prison in 1598 and Cecil may have directed him to bring the priest before the council, as a witness.<ref name="ID2008"/>
[[File:Jonson 1616 folio Workes title page.jpg|200px|thumb|Title page of ''The Workes of Beniamin Ionson'' (1616), the first [[Folio (printing)|folio]] publication that included stage plays]]
At the same time, Jonson pursued a more prestigious career, writing masques for James's court. ''[[The Entertainment at Althorp|The Satyr]]'' (1603) and ''[[The Masque of Blackness]]'' (1605) are two of about two dozen masques which Jonson wrote for James or for Queen Anne, some of them performed at [[Apethorpe Palace]] when the King was in residence. ''The Masque of Blackness'' was praised by [[Algernon Charles Swinburne]] as the consummate example of this now-extinct genre, which mingled speech, dancing and spectacle.

On many of these projects, he collaborated, not always peacefully, with designer [[Inigo Jones]]. For example, Jones designed the scenery for Jonson's masque ''[[Oberon, the Faery Prince]]'' performed at [[Whitehall]] on 1 January 1611 in which [[Henry Frederick, Prince of Wales|Prince Henry]], eldest son of James I, appeared in the title role. Perhaps partly as a result of this new career, Jonson gave up writing plays for the public theatres for a decade. He later told Drummond that he had made less than two hundred pounds on all his plays together.

In 1616 Jonson received a yearly pension of 100 [[Mark (money)|marks]] (about £60), leading some to identify him as England's first [[Poet Laureate]]. This sign of royal favour may have encouraged him to publish the first volume of the folio-collected edition of his works that year.{{sfn|Ward|1911}} Other volumes followed in 1640–41 and 1692. (See: [[Ben Jonson folios]])

On 8 July 1618 Jonson set out from Bishopsgate in London to walk to Edinburgh, arriving in Scotland's capital on 17 September. For the most part he followed the [[Great North Road (Great Britain)|Great North Road]], and was treated to lavish and enthusiastic welcomes in both towns and country houses.<ref name=":1">{{Cite book |last1=Loxley |first1=James |title=Ben Jonson's walk to Scotland: an annotated edition of the 'foot voyage' |last2=Groundwater |first2=Anna |last3=Sanders |first3=Julie |date=4 December 2014 |others=Loxley, James, 1968–, Groundwater, Anna, Sanders, Julie, 1968– |isbn=978-1-107-00333-0 |location=Cambridge, United Kingdom |pages=94, 96 |oclc=884139272}}</ref> On his arrival he lodged initially with John Stuart, a cousin of King James, in Leith, and was made an honorary burgess of Edinburgh at a dinner laid on by the city on 26 September.<ref name=":1" /> He stayed in Scotland until late January 1619, and the best-remembered hospitality he enjoyed was that of the Scottish poet, [[William Drummond of Hawthornden]],{{sfn|Ward|1911}} sited on the [[River Esk, Lothian|River Esk]]. Drummond undertook to record as much of Jonson's conversation as he could in his diary, and thus recorded aspects of Jonson's personality that would otherwise have been less clearly seen. Jonson delivers his opinions, in Drummond's terse reporting, in an expansive and even magisterial mood. Drummond noted he was "a great lover and praiser of himself, a contemner and scorner of others".{{sfn|Ward|1911}}

On returning to England, he was awarded an [[honorary degree|honorary]] [[Master of Arts (Oxbridge and Dublin)|Master of Arts]] [[academic degree|degree]] from Oxford University.

The period between 1605 and 1620 may be viewed as Jonson's heyday. By 1616 he had produced all the plays on which his present reputation as a dramatist is based, including the tragedy ''[[Catiline His Conspiracy|Catiline]]'' (acted and printed 1611), which achieved limited success{{sfn|Ward|1911}} and the comedies ''[[Volpone]]'' (acted 1605 and printed in 1607), ''[[Epicoene, or the Silent Woman]]'' (1609), ''[[The Alchemist (play)|The Alchemist]]'' (1610), ''[[Bartholomew Fayre: A Comedy|Bartholomew Fair]]'' (1614) and ''[[The Devil Is an Ass]]'' (1616).{{sfn|Ward|1911}} ''The Alchemist'' and ''Volpone'' were immediately successful. Of ''Epicoene'', Jonson told Drummond of a satirical verse which reported that the play's subtitle was appropriate since its audience had refused to applaud the play (i.e., remained silent). Yet ''Epicoene'', along with ''Bartholomew Fair'' and (to a lesser extent) ''The Devil is an Ass'' have in modern times achieved a certain degree of recognition. While his life during this period was apparently more settled than it had been in the 1590s, his financial security was still not assured.

==Religion==
Jonson recounted that his father had been a prosperous [[Protestant]] landowner until the reign of "[[Mary I of England|Bloody Mary]]" and had suffered imprisonment and the forfeiture of his wealth during that monarch's attempt to restore England to Catholicism. On [[Elizabeth I of England|Elizabeth]]'s accession, he had been freed and had been able to travel to London to become a clergyman.<ref>Donaldson (2011: 56)</ref><ref>Riggs (1989: 9)</ref> (All that is known of Jonson's father, who died a month before his son was born, comes from the poet's own narrative.) Jonson's elementary education was in a small church school attached to [[St Martin-in-the-Fields#Medieval and Tudor|St Martin-in-the-Fields]] parish, and at the age of about seven he secured a place at [[Westminster School]], then part of [[Westminster Abbey]].

Notwithstanding this emphatically Protestant grounding, Jonson maintained an interest in Catholic doctrine throughout his adult life and, at a particularly perilous time while a religious war with Spain was widely expected and persecution of Catholics was intensifying, he converted to the faith.<ref>Donaldson (2011: 176)</ref><ref name=R51>Riggs (1989: 51–52)</ref> This took place in October 1598, while Jonson was on remand in [[Newgate Prison|Newgate Gaol]] charged with [[manslaughter]]. Jonson's biographer Ian Donaldson is among those who suggest that the conversion was instigated by Father Thomas Wright, a [[Jesuit]] priest who had resigned from the order over his acceptance of Queen Elizabeth's right to rule in England.<ref name=D134>Donaldson (2011: 134–140)</ref><ref>Harp; Stewart (2000: xiv)</ref> Wright, although placed under [[house arrest]] on the orders of [[William Cecil, 1st Baron Burghley|Lord Burghley]], was permitted to minister to the inmates of London prisons.<ref name="D134" /> It may have been that Jonson, fearing that his trial would go against him, was seeking the unequivocal [[Absolution#Catholic Church|absolution]] that Catholicism could offer if he were sentenced to death.<ref name="R51" /> Alternatively, he could have been looking to personal advantage from accepting conversion since Father Wright's protector, the [[Robert Devereux, 2nd Earl of Essex|Earl of Essex]], was among those who might hope to rise to influence after the succession of a new monarch.<ref>Donaldson (2011: 143)</ref> Jonson's conversion came at a weighty time in affairs of state; the royal succession, from the childless Elizabeth, had not been settled and Essex's Catholic allies were hopeful that a sympathetic ruler might attain the throne.

Conviction, and certainly not expedience alone, sustained Jonson's faith during the troublesome twelve years he remained a Catholic. His stance received attention beyond the low-level intolerance to which most followers of that faith were exposed. The first draft of his play ''[[Sejanus His Fall]]'' was banned for "[[Papist|popery]]", and did not re-appear until some offending passages were cut.<ref name="ID2008"/> In January 1606 he (with Anne, his wife) appeared before the [[Consistory Court]] in London to answer a charge of [[recusancy]], with Jonson alone additionally accused of allowing his fame as a Catholic to "seduce" citizens to the cause.<ref>Donaldson (2011: 229)</ref> This was a serious matter (the [[Gunpowder Plot]] was still fresh in people's minds) but he explained that his failure to take [[Eucharist|communion]] was only because he had not found sound theological endorsement for the practice, and by paying a fine of thirteen [[Shilling (British coin)|shilling]]s (156 [[Penny (British pre-decimal coin)|pence]]) he escaped the more serious penalties at the authorities' disposal. His habit was to slip outside during the sacrament, a common routine at the time—indeed it was one followed by the royal consort, Queen [[Anne of Denmark]], herself—to show political loyalty while not offending the conscience.<ref>{{Cite book |last=Maxwell |first=Julie |year=2010 |editor=Sanders, Julie |title=Ben Jonson in context |publisher=Cambridge University Press |location=Cambridge, England |isbn=978-0-521-89571-2 |page=231 |chapter=Religion}}</ref> Leading church figures, including [[John Overall (bishop)|John Overall]], [[Dean of St Paul's]], were tasked with winning Jonson back to Protestantism, but these overtures were resisted.<ref name=D228>Donaldson (2011: 228–9)</ref>

In May 1610 [[Henry IV of France]] was assassinated, purportedly in the name of the Pope; he had been a Catholic monarch respected in England for tolerance towards Protestants, and his murder seems to have been the immediate cause of Jonson's decision to rejoin the Church of England.<ref>{{Cite journal |last=Walker |first=Anita |year=1995 |author2=Dickerman, Edmund |title=Mind of an Assassin: Ravaillac and the Murder of Henri IV of France |journal=Canadian Journal of History |location=Saskatoon, Saskatchewan |volume=30 |issue=2 |pages=201–229|doi=10.3138/cjh.30.2.201 }}</ref><ref name=D272>Donaldson (2011: 272)</ref> He did this in flamboyant style, pointedly drinking a full chalice of [[communion wine]] at the [[eucharist]] to demonstrate his renunciation of the Catholic rite, in which the priest alone drinks the wine.<ref>[[John Morrill (historian)|Jon Morrill]], quoted in Donaldson (2011: 487)</ref><ref name=R177>Riggs (1989: 177)</ref> The exact date of the ceremony is unknown.<ref name=D272/> However, his interest in Catholic belief and practice remained with him until his death.<ref>{{Cite book |last=van den Berg |first=Sara |editor=Harp, Richard |editor2=Stewart, Stanley |title=The Cambridge Companion to Ben Jonson |publisher=Cambridge University Press |location=Cambridge, England |isbn=0-521-64678-2 |page=[https://archive.org/details/cambridgecompani00harp_0/page/10 10] |chapter=True relation: the life and career of Ben Jonson |date=30 November 2000 |chapter-url=https://archive.org/details/cambridgecompani00harp_0/page/10 }}</ref>

==Decline and death==
Jonson's productivity began to decline in the 1620s, but he remained well-known. In that time, the [[Sons of Ben (literary group)|Sons of Ben]] or the "Tribe of Ben", those younger poets such as [[Robert Herrick (poet)|Robert Herrick]], [[Richard Lovelace (poet)|Richard Lovelace]], and [[John Suckling (poet)|Sir John Suckling]] who took their bearing in verse from Jonson, rose to prominence. However, a series of setbacks drained his strength and damaged his reputation. He resumed writing regular plays in the 1620s, but these are not considered among his best. They are of significant interest, however, for their portrayal of [[Charles I of England|Charles I]]'s England. ''[[The Staple of News]]'', for example, offers a remarkable look at the earliest stage of English journalism. The lukewarm reception given that play was, however, nothing compared to the dismal failure of ''[[The New Inn]]''; the cold reception given this play prompted Jonson to write a poem condemning his audience (''An Ode to Himself''), which in turn prompted [[Thomas Carew]], one of the "Tribe of Ben", to respond in a poem that asks Jonson to recognise his own decline.<ref>Maclean, p. 88</ref>

The principal factor in Jonson's partial eclipse was, however, the death of James and the accession of King Charles I in 1625. Jonson felt neglected by the new court. A decisive quarrel with Jones harmed his career as a writer of court masques, although he continued to entertain the court on an irregular basis. For his part, Charles displayed a certain degree of care for the great poet of his father's day: he increased Jonson's annual pension to £100 and included a [[English units of wine casks#Tierce|tierce]] of wine and beer.

Despite the strokes that he suffered in the 1620s, Jonson continued to write. At his death in 1637 he seems to have been working on another play, ''[[The Sad Shepherd]]''. Though only two acts are extant, this represents a remarkable new direction for Jonson: a move into [[pastoral]] drama. During the early 1630s, he also conducted a correspondence with [[James Howell]], who warned him about disfavour at court in the wake of his dispute with Jones.

According to a contemporary letter written by Edward Thelwall of [[Gray's Inn]], Jonson died on 18 August 1637{{Sfn|Bland|2004|p=398}} (O.S. 6 August).<ref>{{Cite book |last= |first= |url=https://books.google.com/books?id=JVJtDwAAQBAJ&dq=%22ben+jonson%22+death+1637+calendar&pg=PA318 |title=Chase's Calendar of Events 2019: The Ultimate Go-to Guide for Special Days, Weeks and Months |date=2018-09-30 |publisher=Rowman & Littlefield |isbn=978-1-64143-264-1 |page=318 |language=en}}</ref> He died in London.<ref name=":3" /> His funeral was held the next day. It was attended by "all or the greatest part of the nobility then in town".<ref name=":0" /><ref name="ID2008" /> He is buried in the north aisle of the nave in [[Westminster Abbey]], with the inscription "O Rare Ben Johnson [''sic'']" set in the slab over his grave.{{sfn|Ward|1911}}<ref name=DCWA>{{cite web |title=Monuments & Gravestones: Ben Jonson |work=Westminster Abbey 1065 to today |publisher=Dean and Chapter of Westminster Abbey |url=http://www.westminster-abbey.org/history-research/monuments-gravestones/people/12177 |access-date=26 May 2008 |archive-url=https://web.archive.org/web/20080107172342/http://www.westminster-abbey.org/history-research/monuments-gravestones/people/12177 |archive-date=7 January 2008}}</ref> [[John Aubrey]], in a more meticulous record than usual, notes that a passer-by, John Young of [[Great Milton]], [[Oxfordshire]], saw the bare grave marker and on impulse paid a workman eighteen pence to make the inscription. Another theory suggests that the tribute came from [[William Davenant]], Jonson's successor as Poet Laureate (and card-playing companion of Young), as the same phrase appears on Davenant's nearby gravestone, but essayist [[James Henry Leigh Hunt|Leigh Hunt]] contends that Davenant's wording represented no more than Young's coinage, cheaply re-used.<ref name=DCWA/><ref>{{Cite book |last=Hunt |first=Leigh |date=9 April 1828 |title=Life of Sir William Davenant, with specimens of his poetry |series=The Companion |volume=XIV |page=187 |chapter=His epitaph, and Ben Jonson's |oclc=2853686}}</ref> The fact that Jonson was buried in an upright position was an indication of his reduced circumstances at the time of his death,<ref>[[Joseph Quincy Adams|Adams, J. Q.]] ''The Jonson Allusion Book''. New Haven: Yale University Press, 1922. pp. 195–6</ref> although it has also been written that he asked for a grave exactly 18&nbsp;inches square from the monarch and received an upright grave to fit in the requested space.<ref name="world and its people">{{Cite book |last=Dunton |first=Larkin |year=1896 |title=The World and Its People |publisher=Silver, Burdett |page=34}}</ref><ref>Donaldson (2011:1)</ref>

It has been pointed out that the inscription could be read "Orare Ben Jonson" (pray for Ben Jonson), possibly in an allusion to Jonson's acceptance of [[Roman Catholic theology|Catholic doctrine]] during his lifetime (although he had returned to the Church of England); the carving shows a distinct space between "O" and "rare".<ref name="ID2008"/><ref>{{Cite book |last=Stubbs |first=John |date=24 February 2011 |title=Reprobates |publisher=Viking Penguin |location=London |isbn=978-0-670-91753-2 |page=[https://archive.org/details/reprobatesthacav0000stub/page/182 182] |quote=…a plea for the passerby's prayers (the Latin imperative ''orare'')… |url=https://archive.org/details/reprobatesthacav0000stub/page/182 }}</ref><ref>{{Cite book |last=Fletcher |first=Angus |year=2007 |title=Time, space, and motion in the age of Shakespeare |url=https://archive.org/details/timespacemotiona00flet |url-access=limited |publisher=Harvard University Press |location=Cambridge, MA |isbn=978-0-674-02308-6 |page=[https://archive.org/details/timespacemotiona00flet/page/n103 95] |chapter=Structure of an epitaph |quote=At first sight the words seem clear enough…but some…have believed that the words intended to say, in Latin, "Pray for Ben Jonson"…}}</ref>

A monument to Jonson was erected in about 1723 by the Earl of Oxford and is in the eastern aisle of Westminster Abbey's [[Poets' Corner]].<ref>[[Arthur Penrhyn Stanley|Stanley, A. P.]], ''Historical Memorials of Westminster Abbey'' (London; [[John Murray (publishing house)|John Murray]]; [[1882]]), p. 222.</ref> It includes a portrait medallion and the same inscription as on the gravestone. It seems Jonson was to have had a monument erected by subscription soon after his death but the [[English Civil War]] intervened.<ref>{{cite web|url=http://westminster-abbey.org/our-history/people/ben-jonson |title=Ben Jonson |access-date=2014-08-18 |url-status=dead |archive-url=https://web.archive.org/web/20140819083717/http://westminster-abbey.org/our-history/people/ben-jonson |archive-date=19 August 2014 |df=dmy }}</ref>

==His work==
{{more citations needed section|date=August 2017}}<!--only one citation in two sections-->

===Drama===
Apart from two tragedies, ''[[Sejanus (play)|Sejanus]]'' and ''[[Catiline: His Conspiracy|Catiline]]'', that largely failed to impress Renaissance audiences, Jonson's work for the public theatres was in comedy. These plays vary in some respects. The minor early plays, particularly those written for [[boy player]]s, present somewhat looser plots and less-developed characters than those written later, for adult companies. Already in the plays which were his salvos in the Poets' War, he displays the keen eye for absurdity and hypocrisy that marks his best-known plays; in these early efforts, however, the plot mostly takes second place to a variety of incident and comic set-pieces. They are, also, notably ill-tempered. [[Thomas Davies (bookseller)|Thomas Davies]] called ''Poetaster'' "a contemptible mixture of the serio-comic, where the names of [[Augustus Caesar]], [[Maecenas]], [[Virgil]], [[Horace]], [[Ovid]] and [[Tibullus]], are all sacrificed upon the altar of private resentment". Another early comedy in a different vein, ''[[The Case is Altered]]'', is markedly similar to Shakespeare's romantic comedies in its foreign setting, emphasis on genial wit and love-plot. Henslowe's diary indicates that Jonson had a hand in numerous other plays, including many in genres such as English history with which he is not otherwise associated.

The comedies of his middle career, from ''[[Eastward Hoe]]'' to ''[[The Devil Is an Ass]]'' are for the most part [[city comedy]], with a London setting, themes of trickery and money, and a distinct moral ambiguity, despite Jonson's professed aim in the Prologue to ''[[Volpone]]'' to "mix profit with your pleasure". His late plays or "[[wikt:dotage|dotages]]", particularly ''[[The Magnetic Lady]]'' and ''[[The Sad Shepherd]]'', exhibit signs of an accommodation with the romantic tendencies of [[English Renaissance theatre|Elizabethan comedy]].

Within this general progression, however, Jonson's comic style remained constant and easily recognisable. He announces his programme in the prologue to the [[folio (printing)|folio]] version of ''[[Every Man in His Humour]]'': he promises to represent "deeds, and language, such as men do use". He planned to write comedies that revived the classical premises of Elizabethan dramatic theory—or rather, since all but the loosest English comedies could claim some descent from [[Plautus]] and [[Terence]], he intended to apply those premises with rigour.<ref>Doran, 120ff</ref> This commitment entailed negations: after ''The Case is Altered'', Jonson eschewed distant locations, noble characters, romantic plots and other staples of Elizabethan comedy, focusing instead on the satiric and realistic inheritance of [[new comedy]]. He set his plays in contemporary settings, peopled them with recognisable types, and set them to actions that, if not strictly realistic, involved everyday motives such as greed and [[jealousy]]. In accordance with the temper of his age, he was often so broad in his characterisation that many of his most famous scenes border on the [[farce|farcical]] (as [[William Congreve]], for example, judged ''Epicoene''). He was more diligent in adhering to the [[classical unities]] than many of his peers—although as [[Margaret Cavendish]] noted, the unity of action in the major comedies was rather compromised by Jonson's abundance of incident. To this classical model, Jonson applied the two features of his style which save his classical imitations from mere pedantry: the vividness with which he depicted the lives of his characters and the intricacy of his plots. Coleridge, for instance, claimed that ''[[The Alchemist (play)|The Alchemist]]'' had one of the three most perfect plots in literature.

===Poetry===
[[File:Houghton MS Lowell Autograph File 185, Jonson.jpg|thumb|"Epitaph for Cecilia Bulstrode" manuscript, 1609]]
Jonson's poetry, like his drama, is informed by his classical learning. Some of his better-known poems are close translations of Greek or Roman models; all display the careful attention to form and style that often came naturally to those trained in classics in the [[Renaissance humanism|humanist]] manner. Jonson largely avoided the debates about rhyme and meter that had consumed Elizabethan classicists such as [[Thomas Campion]] and [[Gabriel Harvey]]. Accepting both rhyme and stress, Jonson used them to mimic the classical qualities of simplicity, restraint and precision.

"Epigrams" (published in the 1616 folio) is an entry in a genre that was popular among late-Elizabethan and Jacobean audiences, although Jonson was perhaps the only poet of his time to work in its full classical range. The epigrams explore various attitudes, most from the satiric stock of the day: complaints against women, courtiers and spies abound. The condemnatory poems are short and anonymous; Jonson's epigrams of praise, including a famous poem to Camden and lines to Lucy Harington, are longer and are mostly addressed to specific individuals. Although it is included among the epigrams, "[[On My First Sonne]]" is neither satirical nor very short; the poem, intensely personal and deeply felt, typifies a genre that would come to be called "lyric poetry." It is possible that the spelling of 'son' as 'Sonne' is meant to allude to the [[sonnet]] form, with which it shares some features. A few other so-called epigrams share this quality. Jonson's poems of "The Forest" also appeared in the first folio. Most of the fifteen poems are addressed to Jonson's aristocratic supporters, but the most famous are his [[Country house poem|country-house poem]] "To Penshurst" and the poem "[[To Celia]]" ("Come, my Celia, let us prove") that appears also in ''[[Volpone]]''.

''Underwood'', published in the expanded folio of 1640, is a larger and more heterogeneous group of poems. It contains ''[[A Celebration of Charis]]'', Jonson's most extended effort at love poetry; various religious pieces; [[Encomium|encomiastic poems]] including the poem to Shakespeare and a sonnet on [[Mary Wroth]]; the ''Execration against Vulcan''<ref>Rickard, Jane. "Jonson's Imaginary Library: "An Execration upon Vulcan" and Its Intertexts." ''Huntington Library Quarterly'' 85, no. 3 (2022): 447-470.</ref> and others. The 1640 volume also contains three elegies which have often been ascribed to Donne (one of them appeared in Donne's posthumous collected poems).

==Relationship with Shakespeare==
[[File:Shakespeare and Jonson at the Mermaid Tavern.jpg|thumb|A 19th-century engraving illustrating [[Thomas Fuller]]'s story of [[William Shakespeare|Shakespeare]] and Jonson debating at the "[[Mermaid Tavern]]"]]

There are many legends about Jonson's rivalry with [[William Shakespeare|Shakespeare]]. William Drummond reports that during their conversation, Jonson scoffed at two apparent absurdities in Shakespeare's plays: a nonsensical line in ''[[Julius Caesar (play)|Julius Caesar]]'' and the setting of ''[[The Winter's Tale]]'' on the non-existent seacoast of Bohemia. Drummond also reported Jonson as saying that Shakespeare "wanted art" (i.e., lacked skill).<ref name="arte">{{cite book |editor-last=Patterson |editor-first=Richard Ferrar |title=Ben Jonson's conversations with William Drummond of Hawthornden |date=1923 |publisher=Blackie |location=London |page=5 |url=https://archive.org/details/benjonsonsconver00jonsuoft/page/5/mode/2up |oclc=1070005576}}</ref>

In [[s:On Shakespeare|"De Shakespeare Nostrat"]] in ''Timber'', which was published posthumously and reflects his lifetime of practical experience, Jonson offers a fuller and more conciliatory comment. He recalls being told by certain actors that Shakespeare never blotted (i.e., crossed out) a line when he wrote. His own claimed response was "Would he had blotted a thousand!"{{efn|Studies based on W.W. Greg's ''The Shakespeare First Folio'' have noted there appear to be passages that Shakespeare wrote and then changed. When printed, the printers did not properly sort the original from the final version of such passages, so traces remain of both.<ref name="Shakespeare's Deletions and False Starts">{{cite journal |last1=Honigmann |first1=E. A. J. |title=Shakespeare's Deletions and False Starts |journal=The Review of English Studies |date=1 February 2005 |volume=56 |issue=223 |pages=37–48 |doi=10.1093/res/hgi003}}</ref>}} However, Jonson explains, "Hee was (indeed) honest, and of an open, and free nature: had an excellent ''Phantsie''; brave notions and gentle expressions: wherein hee flow'd with that facility, that sometime it was necessary he should be stopp'd".<ref>{{cite book |last=Jonson |first=Ben |editor-last=Harrison |editor-first=G. B. |title=Discoveries, 1641; Conversations with William Drummond of Hawthornden, 1619 |date=1923 |publisher=John Lane, The Bodley Head |location=London |page=28 |series=The Bodley Head Quartos |url=https://archive.org/details/discoveries1641c0000jons}}</ref> Jonson concludes that "there was ever more in him to be praised than to be pardoned." When Shakespeare died, he said, "He was not of an age, but for all time."<ref>{{cite book |last1=Pogue |first1=Kate Emery |url=https://archive.org/details/shakespearesfrie00pogu_0 |title=Shakespeare's Friends |publisher=Praeger |year=2006 |isbn=0-275-98956-9 |location=London |page=[https://archive.org/details/shakespearesfrie00pogu_0/page/99 99] |quote=praised than to be pardoned age but for all time. |access-date=25 September 2016 |url-access=registration}}</ref>

[[Thomas Fuller]] relates stories of Jonson and Shakespeare engaging in debates in the [[Mermaid Tavern]]; Fuller imagines conversations in which Shakespeare would run rings around the more learned but more ponderous Jonson. That the two men knew each other personally is beyond doubt, not only because of the tone of Jonson's references to him but because Shakespeare's company produced a number of Jonson's plays, at least two of which (''[[Every Man in His Humour]]'' and ''[[Sejanus His Fall]]'') Shakespeare certainly acted in. However, it is now impossible to tell how much personal communication they had, and tales of their friendship cannot be substantiated.{{Citation needed|date=September 2016}}

Jonson's most influential and revealing commentary on Shakespeare is the second of the two poems that he contributed to the prefatory verse that opens Shakespeare's [[First Folio]]. This poem, [[s:To the Memory of My Beloved the Author, Mr. William Shakespeare and What He Hath Left Us|"To the Memory of My Beloved the Author, Mr. William Shakespeare and What He Hath Left Us"]], did a good deal to create the traditional view of Shakespeare as a poet who, despite "small Latine, and lesse Greeke",<ref>W.T. Baldwin [https://web.archive.org/web/20060904145150/http://durer.press.uiuc.edu/baldwin/vol.1/html/2.html 's ''William Shakspere's Smalle Latine and Lesse Greeke'', 1944]</ref> had a natural genius. The poem has traditionally been thought to exemplify the contrast which Jonson perceived between himself, the disciplined and erudite classicist, scornful of ignorance and sceptical of the masses, and Shakespeare, represented in the poem as a kind of natural wonder whose genius was not subject to any rules except those of the audiences for which he wrote. But the poem itself qualifies this view:
:Yet must I not give Nature all: Thy Art,
:My gentle Shakespeare, must enjoy a part.

Some view this elegy as a conventional exercise, but others see it as a heartfelt tribute to the "Sweet Swan of Avon", the "Soul of the Age!" It has been argued that Jonson helped to edit the First Folio, and he may have been inspired to write this poem by reading his fellow playwright's works, a number of which had been previously either unpublished or available in less satisfactory versions, in a relatively complete form.{{Citation needed|date=September 2016}}

==Reception and influence==
Jonson was a towering literary figure, and his influence was enormous for he has been described as "One of the most vigorous minds that ever added to the strength of English literature".<ref>Morley, Henry, Introduction to ''Discoveries Made Upon Men and Matter and Some Poems'', 1892; Kindle ebook 2011, ASIN B004TOT8FQ.</ref> Before the English Civil War, the "Tribe of Ben" touted his importance, and during the Restoration Jonson's satirical comedies and his theory and practice of "humour characters" (which are often misunderstood; see William Congreve's letters for clarification) was extremely influential, providing the blueprint for many Restoration comedies. [[John Aubrey]] wrote of Jonson in ''[[Brief Lives]]''. By 1700, Jonson's status began to decline. In the Romantic era, Jonson suffered the fate of being unfairly compared and contrasted to Shakespeare, as the taste for Jonson's type of satirical comedy decreased. Jonson was at times greatly appreciated by the Romantics, but overall he was denigrated for not writing in a Shakespearean vein.

In 2012, after more than two decades of research, [[Cambridge University Press]] published the first new edition of Jonson's complete works for 60 years.<ref>{{cite news|url=https://www.telegraph.co.uk/culture/books/9423214/Why-should-William-Shakespeare-have-the-last-word-over-Ben-Jonson.html |archive-url=https://ghostarchive.org/archive/20220112/https://www.telegraph.co.uk/culture/books/9423214/Why-should-William-Shakespeare-have-the-last-word-over-Ben-Jonson.html |archive-date=12 January 2022 |url-access=subscription |url-status=live|title=Why should William Shakespeare have the last word over Ben Jonson?|date=24 July 2012|work=Telegraph.co.uk|last1=Hadfield|first1=Andrew}}{{cbignore}}</ref>

===Drama===
As G. E. Bentley notes in ''Shakespeare and Jonson: Their Reputations in the Seventeenth Century Compared'', Jonson's reputation was in some respects equal to Shakespeare's in the 17th century. After the English theatres were reopened on the [[English Restoration|Restoration]] of [[Charles II of England|Charles II]], Jonson's work, along with Shakespeare's and [[John Fletcher (playwright)|Fletcher]]'s, formed the initial core of the Restoration repertory. It was not until after 1710 that Shakespeare's plays (ordinarily in heavily revised forms) were more frequently performed than those of his Renaissance contemporaries. Many critics since the 18th century have ranked Jonson below only Shakespeare among [[English Renaissance theatre|English Renaissance dramatists]]. Critical judgment has tended to emphasise the very qualities that Jonson himself lauds in his prefaces, in ''Timber'', and in his scattered prefaces and dedications: the realism and propriety of his language, the bite of his satire, and the care with which he plotted his comedies.

For some critics, the temptation to contrast Jonson (representing art or craft) with Shakespeare (representing nature, or untutored genius) has seemed natural; Jonson himself may be said to have initiated this interpretation in the second folio, and [[Samuel Butler (poet)|Samuel Butler]] drew the same comparison in his [[commonplace book]] later in the century.

At the Restoration, this sensed difference became a kind of critical dogma. [[Charles de Saint-Évremond]] placed Jonson's comedies above all else in English drama, and [[Charles Gildon]] called Jonson the father of English comedy. [[John Dryden]] offered a more common assessment in the "Essay of Dramatic Poesie," in which his [[Avatar]] Neander compares Shakespeare to [[Homer]] and Jonson to [[Virgil]]: the former represented profound creativity, the latter polished artifice. But "artifice" was in the 17th century almost synonymous with "art"; Jonson, for instance, used "artificer" as a synonym for "artist" (''Discoveries,'' 33). For [[Lewis Theobald]], too, Jonson "ow[ed] all his Excellence to his Art," in contrast to Shakespeare, the natural genius. [[Nicholas Rowe (dramatist)|Nicholas Rowe]], to whom may be traced the legend that Jonson owed the production of ''Every Man in his Humour'' to Shakespeare's intercession, likewise attributed Jonson's excellence to learning, which did not raise him quite to the level of genius. A consensus formed: Jonson was the first English poet to understand classical precepts with any accuracy, and he was the first to apply those precepts successfully to contemporary life. But there were also more negative spins on Jonson's learned art; for instance, in the 1750s, [[Edward Young]] casually remarked on the way in which Jonson's learning worked, like Samson's strength, to his own detriment. Earlier, [[Aphra Behn]], writing in defence of female playwrights, had pointed to Jonson as a writer whose learning did not make him popular; unsurprisingly, she compares him unfavourably to Shakespeare. Particularly in the tragedies, with their lengthy speeches abstracted from [[Sallust]] and [[Cicero]], [[Augustan literature|Augustan]] critics saw a writer whose learning had swamped his [[aesthetic]] judgment.

In this period, [[Alexander Pope]] is exceptional in that he noted the tendency to exaggeration in these competing critical portraits: "It is ever the nature of Parties to be in extremes; and nothing is so probable, as that because Ben Jonson had much the most learning, it was said on the one hand that Shakespear had none at all; and because Shakespear had much the most wit and fancy, it was retorted on the other, that Jonson wanted both."<ref>Alexander Pope, ed. ''Works of Shakespeare'' (London, 1725), p. 1.</ref> For the most part, the 18th century consensus remained committed to the division that Pope doubted; as late as the 1750s, [[Sarah Fielding]] could put a brief recapitulation of this analysis in the mouth of a "man of sense" encountered by David Simple.

Though his stature declined during the 18th century, Jonson was still read and commented on throughout the century, generally in the kind of comparative and dismissive terms just described. [[Heinrich Wilhelm von Gerstenberg]] translated parts of [[Peter Whalley (clergyman)|Peter Whalley]]'s edition into German in 1765. Shortly before the Romantic revolution, [[Edward Capell]] offered an almost unqualified rejection of Jonson as a dramatic poet, who (he writes) "has very poor pretensions to the high place he holds among the English Bards, as there is no original manner to distinguish him and the tedious sameness visible in his plots indicates a defect of Genius."<ref>Quoted in Craig, D. H., ed. ''Jonson: The Critical Heritage'' (London: Routledge, 1995). p. 499,</ref> The disastrous failures of productions of ''Volpone'' and ''Epicoene'' in the early 1770s no doubt bolstered a widespread sense that Jonson had at last grown too antiquated for the contemporary public; if he still attracted enthusiasts such as [[Charles Pratt, 1st Earl Camden|Earl Camden]] and [[William Gifford]], he all but disappeared from the stage in the last quarter of the century.

The [[Romanticism|romantic]] revolution in criticism brought about an overall decline in the critical estimation of Jonson. Hazlitt refers dismissively to Jonson's "laborious caution." Coleridge, while more respectful, describes Jonson as psychologically superficial: "He was a very accurately observing man; but he cared only to observe what was open to, and likely to impress, the senses." Coleridge placed Jonson second only to Shakespeare; other romantic critics were less approving. The early 19th century was the great age for recovering Renaissance drama. Jonson, whose reputation had survived, appears to have been less interesting to some readers than writers such as [[Thomas Middleton]] or [[John Heywood]], who were in some senses "discoveries" of the 19th century. Moreover, the emphasis which the romantic writers placed on imagination, and their concomitant tendency to distrust studied art, lowered Jonson's status, if it also sharpened their awareness of the difference traditionally noted between Jonson and Shakespeare. This trend was by no means universal, however; [[William Gifford]], Jonson's first editor of the 19th century, did a great deal to defend Jonson's reputation during this period of general decline. In the next era, [[Algernon Charles Swinburne|Swinburne]], who was more interested in Jonson than most [[Victorian era|Victorians]], wrote, "The flowers of his growing have every quality but one which belongs to the rarest and finest among flowers: they have colour, form, variety, fertility, vigour: the one thing they want is fragrance" – by "fragrance," Swinburne means spontaneity.

In the 20th century, Jonson's body of work has been subject to a more varied set of analyses, broadly consistent with the interests and programmes of modern literary criticism. In an essay printed in ''The Sacred Wood'', [[T. S. Eliot]] attempted to repudiate the charge that Jonson was an arid classicist by analysing the role of imagination in his dialogue. Eliot was appreciative of Jonson's overall conception and his "surface", a view consonant with the modernist reaction against Romantic criticism, which tended to denigrate playwrights who did not concentrate on representations of psychological depth. Around mid-century, a number of critics and scholars followed Eliot's lead, producing detailed studies of Jonson's verbal style. At the same time, study of Elizabethan themes and conventions, such as those by [[E. E. Stoll]] and [[M. C. Bradbrook]], provided a more vivid sense of how Jonson's work was shaped by the expectations of his time.

The proliferation of new critical perspectives after mid-century touched on Jonson inconsistently. Jonas Barish was the leading figure among critics who appreciated Jonson's artistry. On the other hand, Jonson received less attention from the new critics than did some other playwrights and his work was not of programmatic interest to psychoanalytic critics. But Jonson's career eventually made him a focal point for the revived [[New Historicism|sociopolitical criticism]]. Jonson's works, particularly his masques and pageants, offer significant information regarding the relations of literary production and political power, as do his contacts with and poems for aristocratic patrons; moreover, his career at the centre of London's emerging literary world has been seen as exemplifying the development of a fully commodified literary culture. In this respect he is seen as a transitional figure, an author whose skills and ambition led him to a leading role both in the declining culture of [[patronage]] and in the rising culture of mass media.

===Poetry===
Jonson has been called "the first poet laureate".<ref>Schmidt, Michael, ''Lives of the Poets'', Weidenfeld & Nicolson, 1998 {{ISBN|978-0-7538-0745-3}}.</ref> If Jonson's reputation as a playwright has traditionally been linked to Shakespeare, his reputation as a poet has, since the early 20th century, been linked to that of [[John Donne]]. In this comparison, Jonson represents the [[Cavalier poet|cavalier]] strain of poetry, emphasising grace and clarity of expression; Donne, by contrast, epitomised the [[Metaphysical poets|metaphysical]] school of poetry, with its reliance on strained, [[baroque]] metaphors and often vague phrasing. Since the critics who made this comparison ([[Herbert Grierson]] for example), were to varying extents rediscovering Donne, this comparison often worked to the detriment of Jonson's reputation.

In his time Jonson was at least as influential as Donne. In 1623, historian [[Edmund Bolton]] named him the best and most polished English poet. That this judgment was widely shared is indicated by the admitted influence he had on younger poets. The grounds for describing Jonson as the "father" of cavalier poets are clear: many of the cavalier poets described themselves as his "sons" or his "tribe". For some of this tribe, the connection was as much social as poetic; [[Robert Herrick (poet)|Herrick]] described meetings at "the Sun, the Dog, the Triple Tunne".{{sfn|Ward|1911}} All of them, including those like Herrick whose accomplishments in verse are generally regarded as superior to Jonson's, took inspiration from Jonson's revival of classical forms and themes, his subtle melodies, and his disciplined use of [[wit]]. In these respects, Jonson may be regarded as among the most important figures in the prehistory of English [[Augustan literature|neoclassicism]].
Popular Culture - His "Queen and Huntress" was used, in slightly amended form, by Mike Oldfield on side 4 of his multi Album set, Incantations.The lyrics can be found on his website, confirming its the same poem. 

The best of Jonson's lyrics have remained current since his time; periodically, they experience a brief vogue, as after the publication of Peter Whalley's edition of 1756. Jonson's poetry continues to interest scholars for the light which it sheds on English literary history, such as politics, systems of patronage and intellectual attitudes. For the general reader, Jonson's reputation rests on a few lyrics that, though brief, are surpassed for grace and precision by very few Renaissance poems: "[[On My First Sonne]]"; "[[To Celia]]"; "To Penshurst"; and the [[epitaph]] on Salomon Pavy, a [[boy player]] abducted from his parents who acted in Jonson's plays.

==Jonson's works==
===Plays===
* ''[[A Tale of a Tub (play)|A Tale of a Tub]]'', comedy ({{circa|1596}} revised performed 1633; printed 1640)
* ''[[The Isle of Dogs (play)|The Isle of Dogs]]'', comedy (1597, with [[Thomas Nashe]]; lost)
* ''[[The Case is Altered]]'', comedy ({{circa|1597}}–98; printed 1609), possibly with [[Henry Porter (playwright)|Henry Porter]] and [[Anthony Munday]]
* ''[[Every Man in His Humour]]'', comedy (performed 1598; printed 1601)
* ''[[Every Man out of His Humour]]'', comedy (performed 1599; printed 1600)
* ''[[Cynthia's Revels]]'' (performed 1600; printed 1601)
* ''[[The Poetaster]]'', comedy (performed 1601; printed 1602)
* ''[[Sejanus His Fall]]'', tragedy (performed 1603; printed 1605)
* ''[[Eastward Ho]]'', comedy (performed and printed 1605), a collaboration with [[John Marston (playwright)|John Marston]] and [[George Chapman]]
* ''[[Volpone]]'', comedy ({{circa|1605}}–06; printed 1607)
* ''[[Epicoene, or the Silent Woman]]'', comedy (performed 1609; printed 1616)
* ''[[The Alchemist (play)|The Alchemist]]'', comedy (performed 1610; printed 1612)
* ''[[Catiline His Conspiracy]]'', tragedy (performed and printed 1611)
* ''[[Bartholomew Fayre: A Comedy|Bartholomew Fair]]'', comedy (performed 31 October 1614; printed 1631)
* ''[[The Devil is an Ass]]'', comedy (performed 1616; printed 1631)
* ''[[The Staple of News]]'', comedy (completed by Feb. 1626; printed 1631)
* ''[[The New Inn, or The Light Heart]]'', comedy (licensed 19 January 1629; printed 1631)
* ''[[The Magnetic Lady, or Humors Reconciled|The Magnetic Lady, or Humours Reconciled]]'', comedy (licensed 12 October 1632; printed 1641)
* ''[[The Sad Shepherd]],'' pastoral ({{circa|1637}}, printed 1641), unfinished
* ''[[Mortimer His Fall]]'', history (printed 1641), a fragment

===Masques===
* ''[[The Coronation Triumph]]'', or ''The King's Entertainment'' (performed 15 March 1604; printed 1604); with [[Thomas Dekker (writer)|Thomas Dekker]]
* ''A Private Entertainment of the King and Queen on May-Day (The Penates)'' (1 May 1604; printed 1616)
* ''[[The Entertainment at Althorp|The Entertainment of the Queen and Prince Henry at Althorp]] (The Satyr)'' (25 June 1603; printed 1604)
* ''[[The Masque of Blackness]]'' (6 January 1605; printed 1608)
* ''[[Hymenaei]]'' (5 January 1606; printed 1606)
* ''[[The Entertainment of the Kings of Great Britain and Denmark]] (The Hours)'' (24 July 1606; printed 1616)
* ''[[The Masque of Beauty]]'' (10 January 1608; printed 1608)
* ''[[The Masque of Queens]]'' (2 February 1609; printed 1609)
* ''[[The Hue and Cry After Cupid]]'', or ''The Masque at Lord Haddington's Marriage'' (9 February 1608; printed {{circa|1608}})
* ''[[The Entertainment at Britain's Burse]]'' (11 April 1609; lost, rediscovered 1997)<ref>{{cite journal|last1=Scott|first1=Alison V.|title=Marketing Luxury at the New Exchange: Jonson's ''Entertainment at Britain's Burse'' and the Rhetoric of Wonder|journal=Early Modern Literary Studies|date=September 2006|volume=12|issue=2|pages=5.1–19|url=http://purl.oclc.org/emls/12-2/scotluxu.htm|access-date=13 September 2014}}</ref>
* ''[[The Speeches at Prince Henry's Barriers]]'', or ''The Lady of the Lake'' (6 January 1610; printed 1616)
* ''[[Oberon, the Faery Prince]]'' (1 January 1611; printed 1616)
* ''[[Love Freed from Ignorance and Folly]]'' (3 February 1611; printed 1616)
* ''[[Love Restored]]'' (6 January 1612; printed 1616)
* ''A Challenge at Tilt, at a Marriage'' (27 December 1613/1 January 1614; printed 1616)
* ''The Irish Masque at Court'' (29 December 1613; printed 1616)
* ''[[Mercury Vindicated from the Alchemists]]'' (6 January 1615; printed 1616)
* ''[[The Golden Age Restored]]'' (1 January 1616; printed 1616)
* ''[[Christmas, His Masque]]'' (Christmas 1616; printed 1641)
* ''[[The Vision of Delight]]'' (6 January 1617; printed 1641)
* ''[[Lovers Made Men]]'', or ''The Masque of Lethe,'' or ''The Masque at Lord Hay's'' (22 February 1617; printed 1617)
* ''[[Pleasure Reconciled to Virtue]]'' (6 January 1618; printed 1641) The masque was a failure; Jonson revised it by placing the anti-masque first, turning it into:
* ''[[For the Honour of Wales]]'' (17 February 1618; printed 1641)
* ''[[News from the New World Discovered in the Moon]]'' (7 January 1620: printed 1641)
* ''The Entertainment at Blackfriars, or The Newcastle Entertainment'' (May 1620?; MS)
* ''[[Pan's Anniversary|Pan's Anniversary, or The Shepherd's Holy-Day]]'' (19 June 1620?; printed 1641)
* ''[[The Gypsies Metamorphosed]]'' (3 and 5 August 1621; printed 1640)
* ''[[The Masque of Augurs]]'' (6 January 1622; printed 1622)
* ''[[Time Vindicated to Himself and to His Honours]]'' (19 January 1623; printed 1623)
* ''[[Neptune's Triumph for the Return of Albion]]'' (26 January 1624; printed 1624)
* ''[[The Masque of Owls at Kenilworth]]'' (19 August 1624; printed 1641)
* ''[[The Fortunate Isles and Their Union]]'' (9 January 1625; printed 1625)
* ''[[Love's Triumph Through Callipolis]]'' (9 January 1631; printed 1631)
* ''[[Chloridia|Chloridia: Rites to Chloris and Her Nymphs]]'' (22 February 1631; printed 1631)
* ''[[The King's Entertainment at Welbeck in Nottinghamshire]]'' (21 May 1633; printed 1641)
* ''[[Love's Welcome at Bolsover]]'' (30 July 1634; printed 1641)

===Other works===
* ''Epigrams'' (1612)
* ''The Forest'' (1616), including ''To Penshurst''
* ''On My First Sonne'' (1616), [[elegy]]
* ''A Discourse of Love'' (1618)
* [[John Barclay (poet)|Barclay]]'s ''[[Argenis]]'', translated by Jonson (1623)
* ''The Execration against Vulcan'' (1640)
* [[Ars Poetica (Horace)|''Horace's Art of Poetry'']], translated by Jonson (1640), with a [[commendatory verse]] by [[Edward Herbert, 1st Baron Herbert of Cherbury|Edward Herbert]]
* ''Underwood'' (1640)
* ''English Grammar'' (1640)
* ''Timber, or Discoveries made upon men and matter, as they have flowed out of his daily readings, or had their reflux to his peculiar notion of the times'', (London, 1641) a [[commonplace book]]
* ''[[To Celia]]'' ''(Drink to Me Only With Thine Eyes)'', poem

It is in Jonson's ''Timber, or Discoveries...'' that he famously quipped on the manner in which language became a measure of the speaker or writer:

{{quote|Language most shows a man: Speak, that I may see thee. It springs out of the most retired and inmost parts of us, and is the image of the parent of it, the mind. No glass renders a man’s form or likeness so true as his speech. Nay, it is likened to a man; and as we consider feature and composition in a man, so words in language; in the greatness, aptness, sound structure, and harmony of it.|Ben Jonson, 1640 (posthumous)<ref>Jonson, B., "Discoveries and Some Poems," Cassell & Company, 1892.</ref>}}

As with other English Renaissance dramatists, a portion of Ben Jonson's literary output has not survived. In addition to ''[[The Isle of Dogs (play)|The Isle of Dogs]]'' (1597), the records suggest these lost plays as wholly or partially Jonson's work: ''Richard Crookback'' (1602); ''Hot Anger Soon Cold'' (1598), with Porter and [[Henry Chettle]]; ''Page of Plymouth'' (1599), with Dekker; and ''Robert II, King of Scots'' (1599), with Chettle and Dekker. Several of Jonson's masques and entertainments also are not extant: ''The Entertainment at Merchant Taylors'' (1607); ''The Entertainment at Salisbury House for James I'' (1608); and ''The May Lord'' (1613–19).

Finally, there are questionable or borderline attributions. Jonson may have had a hand in ''[[Rollo Duke of Normandy|Rollo, Duke of Normandy, or The Bloody Brother]]'', a play in the canon of John Fletcher and his collaborators. The comedy ''[[The Widow (play)|The Widow]]'' was printed in 1652 as the work of [[Thomas Middleton]], Fletcher and Jonson, though scholars have been intensely sceptical about Jonson's presence in the play. A few attributions of anonymous plays, such as ''[[The London Prodigal]]'', have been ventured by individual researchers, but have met with cool responses.<ref>Logan and Smith, pp. 82–92</ref>

==In fiction==
Ben Johnson features as a character in Jean Findlay's historical novel, ''The Queen's Lender'' (2022).<ref>Findlay, Jean (2022), ''The Queen's Lender'', Scotland Street Press, Edinburgh, {{isbn|9781910895559}}</ref>

==Notes==
{{notelist}}

== References ==

=== Citations ===
{{Reflist|30em}}

=== Sources ===<!-- READ ME!! PLEASE DO ''not'' JUST ADD NEW NOTES AT THE BOTTOM. Use ref tags in the text. -->

* {{citation
  | last = Bednarz
  | first = James P.
  | year = 2001
  | title = Shakespeare and the Poets' War
  | place = New York
  | publisher = [[Columbia University Press]]
  | isbn = 978-0-2311-2243-6
  | url = https://books.google.com/books?id=SeH-PaRQaFUC
  }}.
* {{citation
  | last = Bentley
  | first = G. E.
  | author-link = Gerald Eades Bentley
  | year = 1945
  | title = Shakespeare and Jonson: Their Reputations in the Seventeenth Century Compared
  | place = Chicago
  | publisher = [[University of Chicago Press]]
  | isbn = 978-0-2260-4269-5
  | url = https://archive.org/details/shakespearejonso00bent
  }}.
* {{citation
  | last = Bush
  | first = Douglas
  | author-link =Douglas Bush
  | year = 1945
  | title = English Literature in the Earlier Seventeenth Century, 1600–1660
  | series = Oxford History of English Literature
  | place = Oxford
  | publisher = [[Clarendon Press]]
  | url = https://archive.org/details/englishliteratur029993mbp
  }}.
* {{Cite journal |last=Butler |first=Martin |date=Summer 1993 |title=Jonson's Folio and the Politics of Patronage |journal=Criticism |publisher=[[Wayne State University Press]] |volume=35 |issue=3 |pages=377–90 }}
* [[Marchette Chute|Chute, Marchette]]. ''Ben Jonson of Westminster.'' New York: E.P. Dutton, 1953
* {{Cite book |last=Donaldson |first=Ian |year=2011 |title=Ben Jonson: A Life |location=Oxford |publisher=Oxford University Press |url=https://books.google.com/books?id=BHRHtkTDD6kC&q=%22ben+jonson%22+%22donaldson%22+%22robert+townshend%22&pg=PA181 |access-date=20 March 2013 |pages=181–2 |isbn=978-0-19-812976-9}}
* Doran, Madeline. ''Endeavors of Art''. Madison, Wis.: University of Wisconsin Press, 1954
* Eccles, Mark. "Jonson's Marriage." ''Review of English Studies'' 12 (1936)
* Eliot, T.S. "Ben Jonson." ''The Sacred Wood''. London: Methuen, 1920
* Jonson, Ben. ''Discoveries 1641'', ed. G. B. Harrison. New York: Barnes & Noble, 1966
* Jonson, Ben, David M. Bevington, Martin Butler, and Ian Donaldson. 2012. The Cambridge edition of the works of Ben Jonson. Cambridge: Cambridge University Press.
* Knights, L. C. ''Drama and Society in the Age of Jonson''. London: Chatto and Windus, 1968
* Logan, Terence P., and Denzell S. Smith. ''The New Intellectuals: A Survey and Bibliography of Recent Studies in English Renaissance Drama.'' Lincoln, Nebraska, University of Nebraska Press, 1975
* MacLean, Hugh, editor. ''Ben Jonson and the Cavalier Poets''. New York: Norton Press, 1974
* Ceri Sullivan, ''The Rhetoric of Credit. Merchants in Early Modern Writing'' (Madison/London: Associated University Press, 2002)
* Teague, Frances. "Ben Jonson and the Gunpowder Plot." ''Ben Jonson Journal'' 5 (1998). pp.&nbsp;249–52
* [[Ashley Horace Thorndike|Thorndike, Ashley]]. "Ben Jonson." ''The Cambridge History of English and American Literature''. New York: Putnam, 1907–1921
* {{Cite journal|last=Bland|first=Mark|date=2004|title=Ben Jonson and the Legacies of the Past|jstor=10.1525/hlq.2004.67.3.371|journal=Huntington Library Quarterly|volume=67|issue=3|pages=371–400}}
* {{Cite EB1911|wstitle=Jonson, Ben|volume=15|pages=502–507|first=Adolphus William|last=Ward|author-link=Adolphus Ward}}

==Further reading==
{{Library resources box |by=yes |viaf=56611738}}

* Martin Butler & Jane Rickard (eds.). ''Ben Jonson and Posterity: Reception, Reputation, Legacy (Cambridge University Press, 2022)
* D. H. Craig (ed.). ''Ben Jonson: The Critical Heritage'' (Routledge, 1990)
* [[Ian Donaldson]]. ''Ben Jonson: A Life'' (Oxford University Press, 2011)
* Douglas Duncan. ''Ben Jonson and the Lucianic Tradition'' (Cambridge University Press, 1979)
* Richard Harp & Stanley Stewart (eds.). ''The Cambridge Companion to Ben Jonson'' (Cambridge University Press, 2000)
* W. David Kay. ''Ben Jonson: A Literary Life'' (Macmillan, Basingstoke 1995)
* Tom Lockwood. ''Ben Johnson in the Romantic Age'' (Oxford University Press, 2005)
* Lynn S. Meskill. ''Ben Jonson and Envy'' (Cambridge University Press, 2009)
* [[Rosalind Miles (author)|Rosalind Miles]]. ''Ben Jonson: His Craft and Art'' (Routledge, London 2017)
* Rosalind Miles. ''Ben Jonson: His Life and Work'' (Routledge, London 1986)
* George Parfitt. ''Ben Jonson: Public Poet and Private Man'' (J. M. Dent, 1976)
* Richard S. Peterson. ''Imitation and Praise in the Poems of Ben Jonson'' (Routledge, 2011)
* [[David Riggs]]. ''Ben Jonson: A Life'' (1989)
* [[Stanley Wells]]. ''Shakespeare & Co.'' (Allen Lane, 2006)

==External links==
{{wikiquote}}
{{wikisource author}}
{{Commons category|Ben Jonson}}
* {{StandardEbooks|Standard Ebooks URL=https://standardebooks.org/ebooks/ben-jonson}}
* {{Gutenberg author |id=1269| name=Ben Jonson}}
* {{Internet Archive author |sname=Ben Jonson}}
* {{Librivox author |id=1176}}
* [http://universitypublishingonline.org/cambridge/benjonson/ The Cambridge edition of the works of Ben Jonson]
* Digitised Facsimiles of Jonson's second folio, 1640/1 [https://archive.org/search.php?query=john%20geraghty%20jonson Jonson's second folio, 1640/1]
* Video interview with scholar David Bevington [http://research.uchicago.edu/highlights/item.php?id=25 The Collected Works of Ben Jonson] {{Webarchive|url=https://web.archive.org/web/20100610015317/http://research.uchicago.edu/highlights/item.php?id=25 |date=10 June 2010 }}
* [https://web.archive.org/web/20110710192642/http://www.engelsklenker.com/english-search.php?search_term=ben+jonson&hislit=Literature&listedsites=Listed+Search Audio resources on Ben Jonson at TheEnglishCollection.com]
* [http://www.poetryfoundation.org/archive/poet.html?id=3567 Poems by Ben Jonson at PoetryFoundation.org]
* [http://hollowaypages.com/Jonson.htm Works of Ben Jonson]
* {{Find a Grave|5942}}
* Audio: [https://web.archive.org/web/20160303192740/http://poemsoutloud.net/blog/archive/ben_jonson_speaks_his_mind/ Robert Pinsky reads "His Excuse For Loving"] by Ben Jonson
* Audio: [https://web.archive.org/web/20160303184814/http://poemsoutloud.net/blog/archive/my_mountain_belly_and_my_rocky_face/ Robert Pinsky reads "My Picture Left in Scotland"] by Ben Jonson
* {{ChoralWiki|Ben Jonson}}
* {{UK National Archives ID}}
* {{NPG name|name=Benjamin Jonson}}

{{s-start}}
{{s-bef|before=[[Samuel Daniel]]}}
{{s-ttl|title=[[Poet Laureate of the United Kingdom|British Poet Laureate]]|years=1619–1637}}
{{s-aft|after=[[William Davenant]]}}
{{s-end}}
{{Ben Jonson}}
{{Volpone}}
{{Beaumont and Fletcher canon}}
{{Authority control}}

{{DEFAULTSORT:Jonson, Ben}}
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