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The study proceeds thematically rather than chronologically, and makes use of critical methods and scholarship from a range of disciplines, including performance and comparativist criticism, English philology, classical studies, spatial theory, and reception studies. In addition, it is argued that the moral imperatives that drive Jonson's dramatic output are also a product of both of these creative practices, imbuing it with a blend of Greek and Roman dramaturgical and philosophical viewpoints that create a uniquely Jonsonian dramaturgy that is, in varying combinations, moralising, aggressive, sympathetic, and cynical. The thesis contends that, in performative just as much as literary terms, Jonson's appropriation of the classics fits with the creative techniques of imitatio and contaminatio, two practices that placed emphasis on the modelling of literary or dramatic works on the examples of past writers and of the creative blending of these models to produce a new aesthetic object. The emphasis on performance helps to steer the thesis away from focusing purely on classical literary allusions within Jonson's playtexts, and instead encompasses non-literary elements like theatregrams, modes of performance, spatial practices, and structural techniques that are not necessarily apparent on the page but are key elements of Jonson's dramaturgy. Jonson was a man of the theatre just as much as he was a man of letters, and in order to illuminate this aspect of his creative personality the thesis considers how classical performance elements (including the Aristophanic ‘Great Idea,’ chorus, and Terentian/Plautine performative strategies) as well as ‘performative’ elements from classical literature (such as the presentation of satirical personae) manifest themselves in the staging of his plays.
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This study focuses on the influence of classical authors on Ben Jonson’s dramaturgy, with particular emphasis on the playwrights Aristophanes, Plautus, and Terence, and the literary satirists Horace, Juvenal, Persius, and Lucian.