Bringing together a group of established and emergent Jonson scholars, this volume reacts to major advances in thinking about the writer and his canon of works. The study is divided into two distinct parts: the first considers the Jonsonian career and output from biographical, critical, and performance-based angles; the second looks at cultural and historical contexts building on rich interdisciplinary work. Social historians work alongside literary critics to provide a diverse and varied account of Jonson. These are less standard surveys (...) of the field than vibrant interventions into current critical debates. The short-essay format of the collection seeks less to harmonize and homogenize than to raise awareness of new avenues of research on Jonson, including studies informed by book history, cultural geography, the law and legal discourse, the history of science and interests in material culture. (shrink)

Ben Jonson, writing before 1641 in Discoveries, observed that nature intends us no courtesies. The rivers carry our boats, the winds favour our sails, and the sunlight warms our bodies, by necessary motions that contain no kindliness. This represented, or expressed, though perhaps unwittingly and certainly without scientific precision, the mechanical version of physical nature that steadily prevailed during the seventeenth century.

An action is agentially perfect if and only if, if a person tries to perform it, they succeed, and, if a person performs it, they try to. We argue that trying itself is agentially perfect: if a person tries to try to do something, they try to do it; and, if a person tries to do something, they try to try to do it. We show how this claim sheds new light on questions about basic action, the logical structure of (...) intentional action, and the notion of "options" in decision theory. On the way to these central ideas, we argue that a person can try to do something even if they believe it is impossible that they will succeed, that a person can try to do something even if they do not want to succeed, and that a person can try to do something even if they do not intend to succeed. (shrink)

This essay traces out the context that allowed numerous early modern thinkers to deny that animals had faces. Using early- to mid-seventeenth-century writing by, among others, John Milton, John Bulwer and Ben Jonson, it shows that faces were understood to be sites of meaning, and were thus, like gestural language and the capacity to perform a dance, possessed by humans alone. Animals, this discourse argued, have no ability to communicate meaningfully because they have no bodily control, and as such they (...) are faceless beings without individuality and without a sense of self-consciousness. The ethical implications of such a reading of the human face are far reaching. (shrink)

This is the first collaborative volume to place Shakespeare's works within the landscape of early modern political thought. Until recently, literary scholars have not generally treated Shakespeare as a participant in the political thought of his time, unlike his contemporaries Ben Jonson, Edmund Spenser and Philip Sidney. At the same time, historians of political thought have rarely turned their attention to major works of poetry and drama. A distinguished international and interdisciplinary team of contributors examines the full range of Shakespeare's (...) writings in order to challenge conventional interpretations of plays central to the canon, such as Hamlet; open up novel perspectives on works rarely considered to be political, such as the Sonnets; and focus on those that have been largely neglected, such as The Merry Wives of Windsor. The result is a coherent and challenging portrait of Shakespeare's distinctive engagement with the characteristic questions of early modern political thought. (shrink)

To stress the subjectivity of the analyst is to accept the centrality of countertransference in the analytic relationship. Psychoanalysts have long recognized the importance of transference in the analytic setting—that is, the analysand's way of relating to the analyst in terms of his strong, ambivalent unconscious feelings for earlier figures , a process whose successful resolution constitutes the psychoanalystic "cure." But, since the patient's transference is only experienced by the analyst through his countertransference responses, recent theorists have come to emphasize (...) the importance of countertransference in psychoanalysis. In what Otto Kernberg calls its "totalistic" definition, countertransference refers to "the total emotional reaction of the psychoanalyst to the patient in the treatment situation."1 It is, therefore, a source of both empathic understanding and defensive misunderstanding, of distortion and insight. Hans Loewald remarks: "Since a psychoanalytic investigation can be carried out only by a human mind, we cannot conceive of one in which the analyst's [counter] transference and resistance are not the warp and woof of his activity."2 · 1. Otto Kernberg, Borderline Conditions and Pathological Narcissism , p. 49. · 2. Hans Loewald, "Psychoanalytic Theory and the Psychoanalytic Process," The Psychoanalytic Study of the Child 25 : 56. Cf. Heinz Kohut, "Introspection, Empathy, and Psychoanalysis," Journal of the American Psychoanalytic Association 7 : 459-83. For a clear discussion of the background of the countertransference concept in Freud, see Humberto Nagera, et. al., Basic Psychoanalytic Concepts on Metapsychology, Conflicts, Anxiety and Other Subjects , pp. 200-206. Two surveys of the literature on the topic are particularly useful: Douglas Orr, "Transference and Countertransference: A Historical Survey," Journal of the American Psychoanalytic Association 2 : 621-70, and Kernberg, pp. 49-66. Arthur F. Marotti, associate professor of English at Wayne State University, has written a number of essays on Ben Jonson, John Donne, Thomas Middleton, and Edmund Spenser. He is completing a book-length social-historical and psychoanalytic study of Donne's poetry and a book on Jonson; some of the theoretical assumptions behind both projects are discussed in this article. See also: "Psychoanalysis and the Marionette Theater: Interpretation is Not Depreciation" in Vol. 5, No. 1. (shrink)

Offers many fresh insights that will give even longtime readers of Shakespeare a new appreciation of the great master. Scholars have long debated the extent of Shakespeare's education. Although his friend and admirer Ben Jonson said of him, "thou hadst small Latine and lesse Greek," Shakespeare's plays reveal a wide familiarity with literary and philosophical works from the Renaissance, the Middle Ages, and the classical age. Philosopher Farhang Zabeeh delves into this fascinating topic in this detailed study of the philosophical (...) influences evident in Shakespeare's plays and sonnets. Readers will be surprised and delighted to discover in Shakespeare unmistakable echoes of Plato, Aristotle, Cicero, Dante, Montaigne, and other famous thinkers. In one chapter, the author makes a convincing case that one of the bard's most famous comic characters, John Falstaff, is a parody of Socrates. In other chapters, he demonstrates indirect references to Plato in Shakespearean passages concerning appearance versus reality, as well as the influence of Aristotle's ethics. Other common philosophical themes evident in the plays concern the nature of time, subjectivity versus objectivity, and political and moral values. (shrink)

This is a new edition of "A Problem in Greek Ethics," originally published in London in 1901 for "private circulation." Part of the project Immortal Literature Series of classic literature, this is a new edition of the classic work published in 1901-not a facsimile reprint. Obvious typographical errors have been carefully corrected and the entire text has been reset and redesigned by Pen House Editions to enhance readability, while respecting the original edition."A Problem in Greek Ethics" is an account of (...) sexuality between men in all its forms, with Greek culture as a backdrop. Perhaps the best description of "A Problem in Greek Ethics" is this one in "Queer Religion" (Praeger, 2012, edited by Donald L. Boisvert and Jay Emerson Johnson, pp. 180-181): "Published at the turn of the century, 'A Problem in Greek Ethics' is a systematic and well-documented exposition of the role of homosexuality in the different historical periods of ancient Greek society. Throughout most of his work, Symonds prefers to use the term 'paiderastia' to 'homosexuality,' the latter a term he only uses in rare instances. Nevertheless, 'paiderastia,' in Symonds's work, amounts to a broad concept of homosexuality rather than to our current concept of pederasty. Whitman and his work are never mentioned by Symonds in 'A Problem in Greek Ethics,' but the conceptual connection had already been made explicit in Walt Whitman: 'A Study' eight years earlier. In the introductory lines to 'A Problem in Greek Ethics,' the reader is alerted that ancient Greece offers a unique example in history of 'a great and highly developed race not only tolerating homosexual passions, but deeming them of spiritual value, and attempting to use them for the benefit of society.' According to Symonds, while homosexual relations were not prominent in the so-called heroic age of Greece, it was nevertheless the love of Achilles for Patroclus, as narrated by Homer, that conferred in a later age of Greek history an almost religious sanction to the martial form of paiderastia. This episode in the Iliad inspired in later generations an ideal of manly love, which he describes as 'a powerful and masculine emotion, in which effeminacy had no part, and which by no means excluded the ordinary sexual feelings.' To which he adds that the tie created by these relationships was 'both more spiritual and more energetic [than] that which bound man to woman.' While Homer knew not about homosexuality, very early in Greek history paiderastia became a national institution giving rise, according to Symonds, to a distinction between a noble, spiritual, form of masculine passion, which he calls "heroic love," and a base and sensual one, which he identifies as 'vulgar love.'"About the Author: John Addington Symonds was born in Bristol, England, in 1840. He was an English poet, an author of several works, and a literary critic. In 1873 he wrote "A Problem in Greek Ethics," which discussed homosexuality between men. He printed ten copies in 1883, before effectively publishing the book in 1901. He was also known for his work on the Renaissance, as well as for his translations and biographies. He wrote "Our Life in the Swiss Highlands" (1891), biographies of Philip Sidney (1886), Ben Jonson (1886) and Michelangelo (1893), several volumes of poetry and essays, and a translation of the "Autobiography of Benvenuto Cellini" (1887). John Addington Symonds died in Rome in 1893. In 1896, Havelock Ellis published, in German, prepared with the collaboration of Dr. Hans Kurella, "Das konträre Geschlechtsgefühl" (Leipzig, by Georg H. Wigand's Verlag), later revised and published by Ellis as "Sexual Inversion"-the first medical text in English about homosexuality, which he had co-authored with Symonds, and which would become a part of Ellis's six-volume "Studies in the Psychology of Sex.". (shrink)

But since the Greeks first wrote what they called tragedies and comedies, and Aristotle in The Poetics formulated some distinctions about them, writers have been conscious of the two modes as engaging them in different undertakings, involving them in different worlds, each with its own demands. They have gauged their predilections and capacities against the demands of each and have deliberately chosen one or the other, or some calculated mixture. They are often quite explicit about it. Shakespeare announced his plays (...) as "tragedies" or "comedies" or, when he chose, he mixed the forms with the recklessness of Polonius. Marlowe spoke his intention when in the Prologue to Tamburlaine he asked his audience to view his hero in "the tragic glass." Ben Jonson ventured into tragedy in his own scholarly, methodical way, boasting to have discharged all the crucial "offices of a Tragic writer," which he lists straight out of Aristotle. Milton's choice of the tragic form to express his final mood was of course deliberate and, especially in relation to the tragic undertones of his great epic, significant. Artists are free--but free to choose their own sort of bondage. It is they and not so much the critics who have worked to maintain the integrity of the forms. Their conscious, explicit choices show that in their eyes the forms are real, and different, and not merely an academic conspiracy. The phenomenon is a powerful example of the fruitful interaction of tradition and individual talent. (shrink)

Background Voluntary assisted dying became lawful in Victoria, the first Australian state to permit this practice, in 2019 via the Voluntary Assisted Dying Act 2017 (Vic). While conscientious objection by individual health professionals is protected by the Victorian legislation, objections by institutions are governed by policy. No research has been conducted in Victoria, and very little research conducted internationally, on how institutional objection is experienced by patients seeking assisted dying. Methods 28 semi-structured interviews were conducted with 32 family caregivers and (...) one patient about the experience of 28 patients who sought assisted dying. Participants were interviewed during August-November 2021. Data from the 17 interviews (all with family caregivers) which reported institutional objection were analysed thematically. Results Participants reported institutional objection affecting eligibility assessments, medication access, and taking the medication or having it administered. Institutional objection occurred across health settings and was sometimes communicated obliquely. These objections resulted in delays, transfers, and choices between progressing an assisted dying application and receiving palliative or other care. Participants also reported objections causing adverse emotional experiences and distrust of objecting institutions. Six mediating influences on institutional objections were identified: staff views within objecting institutions; support of external medical practitioners and pharmacists providing assisted dying services; nature of a patient’s illness; progression or state of a patient’s illness; patient’s geographical location; and the capability and assertiveness of a patient and/or caregiver. Conclusions Institutional objection to assisted dying is much-debated yet empirically understudied. This research found that in Victoria, objections were regularly reported by participants and adversely affected access to assisted dying and the wider end-of-life experience for patients and caregivers. This barrier arises in an assisted dying system that is already procedurally challenging, particularly given the limited window patients have to apply. Better regulation may be needed as Victoria’s existing policy approach appears to preference institutional positions over patient’s choice given existing power dynamics. (shrink)

The current note clarifies why, in committees, the prior probability of a correct collective choice might be of particular significance and possibly should sometimes even be the sole appropriate basis for making the collective decision. In particular, we present sufficient conditions for the superiority of a rule based solely on the prior relative to the simple majority rule, even when the decisional skills of the committee members are assumed to be homogeneous.

Renaissance plays and poetry in England were saturated with the formal rhetorical twists that Latin education made familiar to audiences and readers. Yet a formally educated man like Ben Jonson was unable to make these ornaments come to life in his two classical Roman plays. Garry Wills, focusing his attention on _Julius Caesar_, here demonstrates how Shakespeare so wonderfully made these ancient devices vivid, giving his characters their own personal styles of Roman speech. In four chapters, devoted to four of (...) the play’s main characters, Wills shows how Caesar, Brutus, Antony, and Cassius each has his own take on the rhetorical ornaments that Elizabethans learned in school. Shakespeare also makes Rome present and animate by casting his troupe of experienced players to make their strengths shine through the historical facts that Plutarch supplied him with. The result is that the Rome English-speaking people carry about in their minds is the Rome that Shakespeare created for them. And that is even true, Wills affirms, for today’s classical scholars with access to the original Roman sources. (shrink)

In “The Desire Theory of Claim-Rights,” Brian Kierland presents an analysis of the concept of a claim-right according to which one person has a claim-right against another just in case there is a perfect correlation between (1) whether the second person has a duty owed to the first and (2) whether the first wants the second to do the act in question. I respond by suggesting that in certain cases, including a variant of the case of Ulysses and the Sirens, (...) the Desire Theory has seriously counter-intuitive implications. (shrink)

It is frequently claimed that panpsychism is unable in principle to generate evidence or predictions. After exploring how this impasse owes to panpsychism's commitment to brute physicalism, I argue that organismic panpsychism (OP) can retain this commitment and yet be empirical in principle. I then explore ways in which OP can be defended against a range of objections. These objections primarily relate to OP's metaphysics, its dependency on string theory, and its appeal to future states of science. Finally, OP's ability (...) to avert a worrying consequence of Russellian panpsychism is discussed. (shrink)

Utilitarianism directs us to act in ways that impartially maximize welfare or utility or at least aim to do that. Some find this view highly compelling. Others object that it has intuitively repugnant results; that it condones evildoing and injustice; that it is excessively imposing and controlling; that it is alienating; and that it fails to offer meaningful practical guidance. In this 'Little Debates' volume, James Lenman argues that utilitarianism's directive to improve the whole universe on a cosmic time scale (...) is apt to lead it down a path of imperious moral overreach. Lenman further maintains that the project ultimately shipwrecks upon an extreme lack of epistemic humility in framing the determinants of what is morally right and wrong beyond the limits of what we can ever hope to know. Utilitarianism thus leaves us morally clueless. In contrast, Ben Bramble seeks to develop and defend an original form of utilitarianism, less vulnerable than other, more familiar versions to a number of important objections (including those raised by Lenman). Bramble's form of utilitarianism aims to avoid other unappealing results by presenting it as a claim about what we have the most reason to do and not as a theory of right action (which Bramble urges we should understand quite differently by referencing what would motivate virtuous people). The two authors debate various forms of this longstanding ethical theory, arguing for very different conclusions, in a way that is sure to leave readers with new views of their own moral thoughts and lives. Key Features: Focuses on one of the dominant ethical theories debated by moral philosophers today Clearly written, free of jargon and technicality, highly accessible to students Accessibly addresses questions of great importance to anyone wishing to grow in understanding of human moral life Provides a glossary of key terms that are bolded in the main text Includes section summaries that give an overview of the main arguments and a comprehensive bibliography for further reading Important issues discussed include: welfare; value; right action; virtue; impartiality; obligations to non-human animals; the badness of human extinction; the happiness of future people; the ethics of climate change; the long term future; and the moral significance of the limits to what we can know. (shrink)

The nineteenth century compared her to Shakespeare; in our own time, she has been likened most often to Henry James. Both comparisons reflect a basic difficulty in reconciling subject matter with treatment, in squaring Jane Austen's restricted world - "3 or 4 Families in a Country Village" - with her profound impact upon our imaginations. Over the years her admirers have tried to resolve this paradox in various ways, none quite successful, but throughout all the changes in critical method one (...) thing has remained constant: the high level of admiration. As Edmund Wilson once remarked, in various revolutions of taste which have occurred during the last century and a half, "perhaps only two reputations have never been affected by the shifts of fashion: Shakespeare's and Jane Austen's. We still agree with Scott about Jane Austen, just as we agree with Ben Jonson about Shakespeare." Even in the half-century after Jane Austen's death, when her reputation was limited in comparison with those of the great Victorians, the praise of discriminating critics was remarkably consistent; and it seems safe to predict, as we begin to celebrate the two-hundredth anniversary of her birth, that this high estimate will remain unchallenged. The bicentennial year will produce the usual tributes, conferences, and collections of essays, but the call for "revaluation" which is usually a ritual part of such occasions will scarcely be heard. The question will not be one of placing Jane Austen in some hierarchy of value, but of trying once again to explain her accepted excellences. A. Walton Litz has written The Art of James Joyce, Jane Austen: A Study of Her Artistic Development, Introspective Voyager: The Poetic Development of Wallace Stevens, and numerous articles. He is professor of English at Princeton University. (shrink)

This article contends that close attention to music/language analogies allows us to perceive how language attempts to gain an understanding of its own cognitive nature. The article does so by closely reading Paul de Man's ‘The Rhetoric of Blindness’, an essay in which de Man suggests that a detailed look at the analogies between musical and linguistic structures made by Jean-Jacques Rousseau in his Essay On the Origin of Languages helps reveal how literary criticism becomes ‘blind’ to its own metaphysical (...) presuppositions. Scrutinizing the terms on which de Man engages Rousseau, the article argues that surface inconsistencies in de Man's use of musical concepts reveal a deeper pattern of ‘deafness’ which turns his notion of ‘empty’ subjectivity against itself. It concludes with some suggestions for how we might further develop the study of music/language analogies, a subject that has the potential to invigorate our understanding of the non-conceptual aspects of linguistic meaning. (shrink)

A contemporary of William Shakespeare and Ben Jonson, Christopher Marlowe was one of the most influential early modern dramatists, whose life and mysterious death have long been the subject of critical and popular speculation. This collection sets Marlowe's plays and poems in their historical context, exploring his world and his wider cultural influence. Chapters by leading international scholars discuss both his major and lesser-known works. Divided into three sections, 'Marlowe's works', 'Marlowe's world', and 'Marlowe's reception', the book ranges from Marlowe's (...) relationship with his own audience through to adaptations of his plays for modern cinema. Other contexts for Marlowe include history and politics, religion and science. Discussions of Marlowe's critics and Marlowe's appeal today, in performance, literature and biography, show how and why his works continue to resonate; and a comprehensive further reading list provides helpful suggestions for those who want to find out more. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.2 (2000) 88-112 [Access article in PDF] Milton's Aesthetics Of Eating Denise Gigante It is not a little curious that, with the exception of Ben Jonson (and he did not speak gravely about it so often), the poet in our own country who has written with the greatest gusto on the subject of eating is Milton. He omits none of the pleasures of the palate, great or small. (...) In his Latin poems, when young, he speaks of the pears and chestnuts which he used to roast at the fire with his friend Diodati. Junkets and other "country-messes" are not forgotten in his "Allegro." The simple Temptation in the Wilderness, "Command that these stones be made bread" (which was quite sufficient for a hunger that had fasted "forty days"), is turned, in Paradise Regained, with more poetry than propriety, into the set out of a great feast, containing every delicacy in and out of season. The very "names" of the viands, he says, were "exquisite." And in Paradise Lost, Eve is not only described as being skilful in paradisaical cookery ("tempering dulcet creams"), but the angel Raphael is invited to dinner, and helped by his entertainers to a series of tid-bits and contrasted relishes--Taste after taste, upheld with kindliest change. --Leigh Hunt, "Eating Songs" The title of an old play gives us a direct taste and surmise of its inwards, as the first lines of the Paradise Lost smack of the great Poem. --John Keats, "On 'Retribution, or the Chieftain's Daughter'" That Milton's Romantic readers should invoke the "taste" of his epic poetry suggests an awareness beyond the anecdotal. For as this essay will show, Milton complicates the category of physiological taste in such a manner as to form the ground for the possibility of aesthetic taste, which emerges as a distinct discourse in the early years of the eighteenth century. This is not to say that Milton is the only source for this dubious meaning-in-transition. But precisely how, prior to the interventions of Shaftesbury, Hutcheson, Hume, and the entire tradition of post-Miltonic theorists of taste, is one to read Adam's darkly sardonic postlapsarian remark: "Eve, now I see thou art exact of taste... And Palate call judicious" [PL IX.1017-20]? Critics have observed Milton's "ruthless and relentless pressure on 'taste,'" the fact that the word and its variants appear thirty times in Book IX of Paradise Lost alone [Ricks 69]. What I would like to suggest is that just as Milton is a seminal figure for the eighteenth-century aesthetic preoccupation with the sublime, 1 he is theoretically situated at the origins of the more generic thing called taste as well. [End Page 88]Of course Milton himself was aware of the epistemological implications of taste, whereby the Latin sapere can mean both "to taste" and "to know." 2 The fruit whose "mortal taste" was the source of all our woe did, after all, grow on the tree of knowledge, knowingly described by Satan as "precious of all Trees / In Paradise, of operation blest / To Sapience" [PL I.2, IX.795-97]. So too, when Adam calls Eve "exact of taste," he adds "of Sapience no small part" [PL IX.1018]. Throughout Paradise Lost and Paradise Regained, Milton plays with the epistemological connotation of taste, incorporating it even into the 1671 companion piece of the latter, Samson Agonistes, whose blind hero declares, "The way to know were not to see but taste" [1091]. At the time Milton was writing, however, taste was philosophically connected not only to knowledge and pleasure, but to morality as well. At the origins of the British empirical discourse of taste, Anthony Ashley Cooper, third Earl of Shaftesbury, inheriting this link between epistemology, aesthetics, and ethics, inquires: "Will it not be found... that what is beautiful is... true; and what is at once both beautiful and true is, of consequence, agreeable and good?" [2: 268-69]. For Milton as for Shaftesbury, the beautiful was the true was the good, and access to these ideals was bound up with the philosophic complexity... (shrink)

This article discusses the use of some Tacitean key terms and techniques by Edward Hyde, Earl of Clarendon in his History of the Rebellion, on the English Civil War, and in his autobiographical account of his times, the Life. Tacitism is a broad term denoting sceptical and secular historical and political ideas, inspired by the works of Cornelius Tacitus. English Tacitism dates back to the last decades of the sixteenth century and gained special importance during the reign of Charles I, (...) when it became a recognisable element of political debate. Clarendon had been connected with one influential Tacitist group, i.e. Ben Jonson's circle. The paper explores the ways in which Clarendon used this intellectual background in presenting a conservative, royalist and idealistic worldview. I analyse the use of two Tacitean keywords connected with the discourse of reason of state, prudence and dissimulation, and their synonyms introduced by Clarendon, skilfulness, seasonableness, dexterity and uningenuity, and Clarendon's portrayal of Cromwell. Clarendon uses these terms and Tacitean narrative techniques precisely to present a religious and ‘counter-Tacitist’ vision of history, influenced by late-humanist ideas, but also demonstrating the importance and persuasive power of the Tacitean discourse in seventeenth-century England. (shrink)