The Alchemist (play)
Encyclopedia
The Alchemist is a comedy
by English
playwright Ben Jonson
. First performed in 1610
by the King's Men
, it is generally considered Jonson's best and most characteristic comedy; Samuel Taylor Coleridge
claimed that it had one of the three most perfect plots in literature. The play's clever fulfillment of the classical unities
and vivid depiction of human folly have made it one of the few Renaissance plays (except the works of Shakespeare) with a continuing life on stage (except for a period of neglect during the Victorian era).
) opened in London; it is, then, a product of the early maturity of commercial drama in London. Only one of the University wits who had transformed drama in the Elizabethan period remained alive (this was Thomas Lodge
); in the other direction, the last great playwright to flourish before the Interregnum
, James Shirley
, was already a teenager. The theatres had survived the challenge mounted by the city and religious authorities; plays were a regular feature of life at court and for a great number of Londoners.
The venue for which Jonson apparently wrote his play reflects this newly solid acceptance of theatre as a fact of city life. In 1597, the Lord Chamberlain's Men
(aka the King's Men) had been denied permission to use the theatre in Blackfriars
as a winter playhouse because of objections from the neighborhood's influential residents. Some time between 1608 and 1610, the company, now the King's Men
, reassumed control of the playhouse, this time without objections. Their delayed premiere on this stage within the city walls, along with royal patronage, marks the ascendance of this company in the London play-world (Gurr, 171). The Alchemist was among the first plays chosen for performance at the theatre.
Jonson's play reflects this new confidence. In it, he applies his classical conception of drama to a setting in contemporary London for the first time, with invigorating results. The classical elements, most notably the relation between Lovewit and Face, are fully modernized; likewise, the depiction of Jacobean London is given order and direction by the classical understanding of comedy as a means to expose vice and foolishness to ridicule.
The play opens with a violent argument between Subtle and Face concerning the division of the riches which they have, and will continue to gather. Dol breaks the pair apart and reasons with them that they must work as a team if they are to succeed. Their first customer is Dapper, a lawyer's clerk who wishes Subtle to use his supposed necromantic skills to summon a "familiar" or spirit to help in his gambling ambitions. The tripartite suggest that Dapper may win favour with the 'Queen of Fairy', but he must subject himself to humiliating rituals in order for her to help him. Their second gull is Drugger, a tobacconist, who is keen to establish a profitable business. After this, a wealthy nobleman, Sir Epicure Mammon arrives, expressing the desire to gain himself the philosopher's stone
which he believes will bring him huge material and spiritual wealth. He is accompanied by Surly, a skeptic and debunker of the whole idea of alchemy
. He is promised the philosopher's stone and promised that it will turn all base metal into gold. Surly however, suspects Subtle of being a thief. Mammon accidentally sees Dol and is told that she is a Lord’s sister who is suffering from madness. Subtle contrives to become angry with Ananias, an Anabaptist or Puritan, and demands that he should return with a more senior member of his sect. Drugger returns and is given false and ludicrous advice about setting up his shop; he also brings news that a rich young widow (Dame Pliant) and her brother (Kastril) have arrived in London. Both Subtle and Face in their greed and ambition seek out to win the widow.
The Anabaptists return and agree to pay for goods to be transmuted into gold. These are in fact Mammon's goods. Dapper returns and is promised that he shall meet with the Queen of Fairy soon. Drugger brings Kastril who, on being told that Subtle is a skilled match-maker, rushed to fetch his sister. Drugger is given to understand that the appropriate payment might secure his marriage to the widow. Dapper is blindfolded and subjected to 'fairy' humiliations; but on the reappearance of Mammon, he has been gagged and is hastily thrust into the privy. Mammon is introduced to Dol. He has been told that Dol is a nobleman's sister who has gone mad, but he is not put off, and pays her extravagant compliments. Kastril and his sister come again. Kastril is given a lesson in quarrelling, and the widow captivates both Face and Subtle. They quarrel over who is to have her.
Surly returns, disguised as a Spanish nobleman. Face and Subtle believe that the Spaniard speaks no English and they insult him. They also believe that he has come for a woman, but Dol is elsewhere in the building ‘engaged’ with Mammon, so Face has the inspiration of using Dame Pliant. She is reluctant to become a Spanish countess but is vigorously persuaded by her brother to go off with Surly. The tricksters need to get rid of Mammon. Dol contrives a fit and there is an ‘explosion’ from the ‘laboratory’. In addition, the lady’s furious ‘brother’ is hunting for Mammon, who leaves. Surly reveals his true identity to Dame Pliant and hopes that she will look on him favourably as a consequence. Surly reveals his true identity to Face and Subtle, and denounces them. In quick succession Kastril, Drugger and Ananias return, and are set on to Surly, who retreats. Drugger is told to go and find a Spanish costume if he is to have a chance of claiming the widow. Dol brings news that the master of the house has returned.
Lovewit interrogates the neighbours as to what has been going on during his absence. Face is now the plausible Jeremy again, and explains that there cannot have been any visitors to the house – he has kept it locked up because of the plague. Surly, Mammon, Kastril and the Anabaptists return. There is a cry from the privy; Dapper has chewed through his gag. Jeremy can no longer maintain his fiction. He promises Lovewit that if he pardons him, he will help him obtain himself a rich widow, i.e. Dame Pliant. Dapper meets the ‘Queen of Fairy’ and departs happily. Drugger delivers the Spanish costume and is sent to find a parson. Face tells Subtle and Dol that he has confessed to Lovewit, and that officers are on the way; Subtle and Dol have to flee, empty handed.
The victims come back again. Lovewit has married the widow and has claimed Mammon’s goods; Surly and Mammon depart disconsolately. The Anabaptists and Drugger are summarily dismissed. Kastril accepts his sister’s marriage to Lovewit. Lovewit pays tribute to the ingenuity of his servant, and Face asks for the audience’s forgiveness.
and enjoying fantastic sexual conquests.
The Alchemist focuses on what happens when one human being seeks advantage over another. In a big city like London, this process of advantage-seeking is rife. The trio of con-artists - Subtle, Face and Dol - are self-deluding small-timers, ultimately undone by the same human weaknesses they exploit in their victims. Their fate is foreshadowed in the play’s opening scene, which features them together in the house of Lovewit, Face’s master. In a metaphor which runs through the play, the dialogue shows them to exist in uneasy imbalance, like alchemical elements that will create an unstable reaction. Barely ten lines into the text, Face and Subtle’s quarrelling forces Dol to quell their raised voices: “Will you have the neighbours hear you? Will you betray all?”
The con-artists' vanities and aspirations are revealed by the very personae they assume as part of their plan. The lowly housekeeper, Face, casts himself as a sea captain (a man accustomed to giving orders, instead of taking them), the egotistical Subtle casts himself as an alchemist (as one who can do what no one else can; turn base metal into gold), and Dol Common casts herself as an aristocratic lady. Their incessant bickering is fuelled by vanity, envy and jealousy, the root of which is Subtle’s conviction that he is the key element in the ‘venture tripartite’:
The ‘venture tripartite’ is as doomed as one of the Roman triumvirate
s. The play’s end sees Subtle and Dol resume their original pairing, while Face resumes his role as housekeeper to a wealthy master. Significantly, none of the three is severely punished (the collapse of their scheme aside). Jonson’s theatrical microcosm is not a neatly moral one; and he seems to enjoy seeing foolish characters like Epicure Mammon get their comeuppance. This is why, while London itself is a target of Jonson’s satire, it is also, as his Prologue boasts, a cozening-ground worth celebrating: “Our scene is London, ‘cause we would make known/No country’s mirth is better than our own/No clime breeds better matter for your whore…”
The Alchemist is tightly structured, based around a simple dramatic concept. Subtle claims to be on the verge of projection
in his offstage workroom, but all the characters in the play are overly-concerned with projection of a different kind: image-projection. The end result, in structural terms, is an onstage base of operations in Friars, to which can be brought a succession of unconsciously-comic characters from different social backgrounds, who hold different professions and different beliefs, but whose lowest common denominator – gullibility - grants them equal victim-status in the end. Dapper, the aspirant gambler, loses his stake; Sir Epicure Mammon loses his money and his dignity; Drugger, the would-be businessman, parts with his cash, but ends up no nearer to the success he craves; the Puritan duo, Tribulation and Ananias, never realize their scheme to counterfeit Dutch money.
Jonson reserves his harshest satire for these Puritan characters—perhaps because the Puritans, in real life, wished to close down the theaters. (Jonson's play Bartholomew Fair is also anti-Puritan.) Tellingly, of all those gulled in the play, it is the Puritans alone whom Jonson denies a brief moment of his audience’s pity; presumably, he reckons their life-denying self-righteousness renders them unworthy of it. Jonson consistently despises hypocrisy, especially religious hypocrisy that couches its damning judgments in high-flown language. Tribulation and Ananias call their fellow men "heathens" and in one case, say that someone's hat suggests "the Anti-Christ." That these Puritans are just as money-hungry as the rest of the characters is part of the ironic joke.
In many English and European comedies, it is up to a high-class character to resolve the confusion that has been caused by lower-class characters. In The Alchemist, Jonson subverts this tradition. Face's master, Lovewit, at first seems to assert his social and ethical superiority to put matters to rights. But when Face dangles before him the prospect of marriage to a younger woman, his master eagerly accepts. Both master and servant are always on the lookout for how to get ahead in life, regardless of ethical boundaries. Lovewit adroitly exploits Mammon’s reluctance to obtain legal certification of his folly to hold on to the old man’s money.
's Albumazar, performed for King James I
at Cambridge
in 1615. A tradition apparently originating with Dryden
held that Jonson had been influenced by Tomkis's academic comedy. Dryden may have mentioned Jonson to increase interest in a somewhat obscure play he was then reviving; he may also have been confused about the dates. At any rate, the question of influence now runs the other way. Albumazar is, primarily, an adaptation of Giambattista della Porta
's "L'Astrologo"; however, both the similarity in subject matter and Tomkis's apparent familiarity with commercial dramaturgy make it possible that he was aware of The Alchemist, and may have been responding to the play's success.
The play continued onstage as a droll
during the Commonwealth period; after the Restoration
, it belonged to the repertory of the King's Men of Thomas Killigrew
, who appear to have performed it with some frequency during their first years in operation. The play is not known to have been performed between 1675 and 1709, but the frequency of performance after 1709 suggests that it probably was. Indeed, the play was frequently performed during the eighteenth century; both Colley Cibber
and David Garrick
were notable successes in the role of Drugger, for whom a small amount of new material, including farces and monologues, in the latter half of the century was created.
After this period of flourishing, the play fell into desuetude, along with nearly all non-Shakespearean Renaissance drama, until the beginning of the twentieth century. William Poel
's Elizabethan Stage Society
produced the play in 1899
. This opening was followed a generation later by productions at Malvern
in 1932
, with Ralph Richardson
as Face, and at the Old Vic
in 1947. In the latter production, Alec Guinness
played Drugger, alongside Richardson as Face.
The Oregon Shakespeare Festival
staged a fast-paced, nearly farcical production in 1961; Gerard Larson played Face, and Nagle Jackson Face, under Edward Brubaker's direction. The performance received generally favorable reviews; however, a 1973 production set in the Wild West
setting did not; the setting was generally considered inconsistent with the tone and treatment of the play.
In 1962, Tyrone Guthrie
produced a modernized version at the Old Vic, with Leo McKern
as Subtle and Charles Gray
as Mammon. Trevor Nunn
's 1977 production with the Royal Shakespeare Company
featured Ian McKellen
as a"greasy, misanthropic" Face, in a version adapted by Peter Barnes
. The original was played at the Royal National Theatre
, with Alex Jennings
and Simon Russell Beale
in the central roles, from September to November 2006. A contemporary dress production directed by Michael Kahn
opened the 2009/2010 season at the Shakespeare Theatre Company
in Washington, DC.
In 2010 Hoxton Hall
and Firehouse joined forces to stage a reworking of the classic, using contemporary stories from the local community in Hoxton
. The show was part of the Urbanism Season of August September 2010.
In April 2012, The Baron's Men, located in Austin, Texas, will stage the classic in it's original form using Elizabethan staging practices and costumes. The play will be performed at Richard Garriott's replica of The Globe Theater.
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Comedy
Comedy , as a popular meaning, is any humorous discourse or work generally intended to amuse by creating laughter, especially in television, film, and stand-up comedy. This must be carefully distinguished from its academic definition, namely the comic theatre, whose Western origins are found in...
by English
English literature
English literature is the literature written in the English language, including literature composed in English by writers not necessarily from England; for example, Robert Burns was Scottish, James Joyce was Irish, Joseph Conrad was Polish, Dylan Thomas was Welsh, Edgar Allan Poe was American, J....
playwright Ben Jonson
Ben Jonson
Benjamin Jonson was an English Renaissance dramatist, poet and actor. A contemporary of William Shakespeare, he is best known for his satirical plays, particularly Volpone, The Alchemist, and Bartholomew Fair, which are considered his best, and his lyric poems...
. First performed in 1610
1610 in literature
The year 1610 in literature involved some significant events.-Events:*Thomas Bodley makes an agreement with the Stationers' Company of London to put a copy of every book registered with them into his new Bodleian.-New books:...
by the King's Men
King's Men
King's Men or Kingsmen may refer to:*The King's Men , Númenórean royalist faction in J. R. R. Tolkien's writings*The King's Men , English company of actors to whom William Shakespeare belonged*The Kingsmen, American rock group...
, it is generally considered Jonson's best and most characteristic comedy; Samuel Taylor Coleridge
Samuel Taylor Coleridge
Samuel Taylor Coleridge was an English poet, Romantic, literary critic and philosopher who, with his friend William Wordsworth, was a founder of the Romantic Movement in England and a member of the Lake Poets. He is probably best known for his poems The Rime of the Ancient Mariner and Kubla...
claimed that it had one of the three most perfect plots in literature. The play's clever fulfillment of the classical unities
Classical unities
The classical unities, Aristotelian unities or three unities are rules for drama derived from a passage in Aristotle's Poetics. In their neoclassical form they are as follows:...
and vivid depiction of human folly have made it one of the few Renaissance plays (except the works of Shakespeare) with a continuing life on stage (except for a period of neglect during the Victorian era).
Background
The Alchemist premiered 34 years after the first permanent public theatre (The TheatreThe Theatre
The Theatre was an Elizabethan playhouse located in Shoreditch , just outside the City of London. It was the second permanent theatre ever built in England, after the Red Lion, and the first successful one...
) opened in London; it is, then, a product of the early maturity of commercial drama in London. Only one of the University wits who had transformed drama in the Elizabethan period remained alive (this was Thomas Lodge
Thomas Lodge
Thomas Lodge was an English dramatist and writer of the Elizabethan and Jacobean periods.-Early life and education:...
); in the other direction, the last great playwright to flourish before the Interregnum
English Interregnum
The English Interregnum was the period of parliamentary and military rule by the Lord Protector Oliver Cromwell under the Commonwealth of England after the English Civil War...
, James Shirley
James Shirley
James Shirley was an English dramatist.He belonged to the great period of English dramatic literature, but, in Lamb's words, he "claims a place among the worthies of this period, not so much for any transcendent genius in himself, as that he was the last of a great race, all of whom spoke nearly...
, was already a teenager. The theatres had survived the challenge mounted by the city and religious authorities; plays were a regular feature of life at court and for a great number of Londoners.
The venue for which Jonson apparently wrote his play reflects this newly solid acceptance of theatre as a fact of city life. In 1597, the Lord Chamberlain's Men
Lord Chamberlain's Men
The Lord Chamberlain's Men was a playing company for whom Shakespeare worked for most of his career. Formed at the end of a period of flux in the theatrical world of London, it had become, by 1603, one of the two leading companies of the city and was subsequently patronised by James I.It was...
(aka the King's Men) had been denied permission to use the theatre in Blackfriars
Blackfriars Theatre
Blackfriars Theatre was the name of a theatre in the Blackfriars district of the City of London during the Renaissance. The theatre began as a venue for child actors associated with the Queen's chapel choirs; in this function, the theatre hosted some of the most innovative drama of Elizabeth and...
as a winter playhouse because of objections from the neighborhood's influential residents. Some time between 1608 and 1610, the company, now the King's Men
King's Men (playing company)
The King's Men was the company of actors to which William Shakespeare belonged through most of his career. Formerly known as The Lord Chamberlain's Men during the reign of Queen Elizabeth, it became The King's Men in 1603 when King James ascended the throne and became the company's patron.The...
, reassumed control of the playhouse, this time without objections. Their delayed premiere on this stage within the city walls, along with royal patronage, marks the ascendance of this company in the London play-world (Gurr, 171). The Alchemist was among the first plays chosen for performance at the theatre.
Jonson's play reflects this new confidence. In it, he applies his classical conception of drama to a setting in contemporary London for the first time, with invigorating results. The classical elements, most notably the relation between Lovewit and Face, are fully modernized; likewise, the depiction of Jacobean London is given order and direction by the classical understanding of comedy as a means to expose vice and foolishness to ridicule.
Synopsis
An outbreak of plague in London forces a gentleman, Lovewit, to flee temporarily to the country, leaving his house under the sole charge of his butler, Jeremy. Jeremy uses the opportunity given to him to use the house as the headquarters for fraudulent acts. He transforms himself into 'Captain Face', and enlists the aid of Subtle, a fellow conman and Dol Common, a prostitute.The play opens with a violent argument between Subtle and Face concerning the division of the riches which they have, and will continue to gather. Dol breaks the pair apart and reasons with them that they must work as a team if they are to succeed. Their first customer is Dapper, a lawyer's clerk who wishes Subtle to use his supposed necromantic skills to summon a "familiar" or spirit to help in his gambling ambitions. The tripartite suggest that Dapper may win favour with the 'Queen of Fairy', but he must subject himself to humiliating rituals in order for her to help him. Their second gull is Drugger, a tobacconist, who is keen to establish a profitable business. After this, a wealthy nobleman, Sir Epicure Mammon arrives, expressing the desire to gain himself the philosopher's stone
Philosopher's stone
The philosopher's stone is a legendary alchemical substance said to be capable of turning base metals into gold or silver. It was also sometimes believed to be an elixir of life, useful for rejuvenation and possibly for achieving immortality. For many centuries, it was the most sought-after goal...
which he believes will bring him huge material and spiritual wealth. He is accompanied by Surly, a skeptic and debunker of the whole idea of alchemy
Alchemy
Alchemy is an influential philosophical tradition whose early practitioners’ claims to profound powers were known from antiquity. The defining objectives of alchemy are varied; these include the creation of the fabled philosopher's stone possessing powers including the capability of turning base...
. He is promised the philosopher's stone and promised that it will turn all base metal into gold. Surly however, suspects Subtle of being a thief. Mammon accidentally sees Dol and is told that she is a Lord’s sister who is suffering from madness. Subtle contrives to become angry with Ananias, an Anabaptist or Puritan, and demands that he should return with a more senior member of his sect. Drugger returns and is given false and ludicrous advice about setting up his shop; he also brings news that a rich young widow (Dame Pliant) and her brother (Kastril) have arrived in London. Both Subtle and Face in their greed and ambition seek out to win the widow.
The Anabaptists return and agree to pay for goods to be transmuted into gold. These are in fact Mammon's goods. Dapper returns and is promised that he shall meet with the Queen of Fairy soon. Drugger brings Kastril who, on being told that Subtle is a skilled match-maker, rushed to fetch his sister. Drugger is given to understand that the appropriate payment might secure his marriage to the widow. Dapper is blindfolded and subjected to 'fairy' humiliations; but on the reappearance of Mammon, he has been gagged and is hastily thrust into the privy. Mammon is introduced to Dol. He has been told that Dol is a nobleman's sister who has gone mad, but he is not put off, and pays her extravagant compliments. Kastril and his sister come again. Kastril is given a lesson in quarrelling, and the widow captivates both Face and Subtle. They quarrel over who is to have her.
Surly returns, disguised as a Spanish nobleman. Face and Subtle believe that the Spaniard speaks no English and they insult him. They also believe that he has come for a woman, but Dol is elsewhere in the building ‘engaged’ with Mammon, so Face has the inspiration of using Dame Pliant. She is reluctant to become a Spanish countess but is vigorously persuaded by her brother to go off with Surly. The tricksters need to get rid of Mammon. Dol contrives a fit and there is an ‘explosion’ from the ‘laboratory’. In addition, the lady’s furious ‘brother’ is hunting for Mammon, who leaves. Surly reveals his true identity to Dame Pliant and hopes that she will look on him favourably as a consequence. Surly reveals his true identity to Face and Subtle, and denounces them. In quick succession Kastril, Drugger and Ananias return, and are set on to Surly, who retreats. Drugger is told to go and find a Spanish costume if he is to have a chance of claiming the widow. Dol brings news that the master of the house has returned.
Lovewit interrogates the neighbours as to what has been going on during his absence. Face is now the plausible Jeremy again, and explains that there cannot have been any visitors to the house – he has kept it locked up because of the plague. Surly, Mammon, Kastril and the Anabaptists return. There is a cry from the privy; Dapper has chewed through his gag. Jeremy can no longer maintain his fiction. He promises Lovewit that if he pardons him, he will help him obtain himself a rich widow, i.e. Dame Pliant. Dapper meets the ‘Queen of Fairy’ and departs happily. Drugger delivers the Spanish costume and is sent to find a parson. Face tells Subtle and Dol that he has confessed to Lovewit, and that officers are on the way; Subtle and Dol have to flee, empty handed.
The victims come back again. Lovewit has married the widow and has claimed Mammon’s goods; Surly and Mammon depart disconsolately. The Anabaptists and Drugger are summarily dismissed. Kastril accepts his sister’s marriage to Lovewit. Lovewit pays tribute to the ingenuity of his servant, and Face asks for the audience’s forgiveness.
Analysis
In The Alchemist, Jonson unashamedly satirizes the follies, vanities and vices of mankind, most notably greed-induced credulity. People of all social classes are subject to Jonson's ruthless, satirical wit. He mocks human weakness and gullibility to advertising and to "miracle cures" with the character of Sir Epicure Mammon, who dreams of drinking the elixir of youthFountain of Youth
The Fountain of Youth is a legendary spring that reputedly restores the youth of anyone who drinks of its waters. Tales of such a fountain have been recounted across the world for thousands of years, appearing in writings by Herodotus, the Alexander romance, and the stories of Prester John...
and enjoying fantastic sexual conquests.
The Alchemist focuses on what happens when one human being seeks advantage over another. In a big city like London, this process of advantage-seeking is rife. The trio of con-artists - Subtle, Face and Dol - are self-deluding small-timers, ultimately undone by the same human weaknesses they exploit in their victims. Their fate is foreshadowed in the play’s opening scene, which features them together in the house of Lovewit, Face’s master. In a metaphor which runs through the play, the dialogue shows them to exist in uneasy imbalance, like alchemical elements that will create an unstable reaction. Barely ten lines into the text, Face and Subtle’s quarrelling forces Dol to quell their raised voices: “Will you have the neighbours hear you? Will you betray all?”
The con-artists' vanities and aspirations are revealed by the very personae they assume as part of their plan. The lowly housekeeper, Face, casts himself as a sea captain (a man accustomed to giving orders, instead of taking them), the egotistical Subtle casts himself as an alchemist (as one who can do what no one else can; turn base metal into gold), and Dol Common casts herself as an aristocratic lady. Their incessant bickering is fuelled by vanity, envy and jealousy, the root of which is Subtle’s conviction that he is the key element in the ‘venture tripartite’:
- FACE: ‘Tis his fault. He ever murmurs and objects his pains, and says the weight of all lies upon him.
The ‘venture tripartite’ is as doomed as one of the Roman triumvirate
Triumvirate
A triumvirate is a political regime dominated by three powerful individuals, each a triumvir . The arrangement can be formal or informal, and though the three are usually equal on paper, in reality this is rarely the case...
s. The play’s end sees Subtle and Dol resume their original pairing, while Face resumes his role as housekeeper to a wealthy master. Significantly, none of the three is severely punished (the collapse of their scheme aside). Jonson’s theatrical microcosm is not a neatly moral one; and he seems to enjoy seeing foolish characters like Epicure Mammon get their comeuppance. This is why, while London itself is a target of Jonson’s satire, it is also, as his Prologue boasts, a cozening-ground worth celebrating: “Our scene is London, ‘cause we would make known/No country’s mirth is better than our own/No clime breeds better matter for your whore…”
The Alchemist is tightly structured, based around a simple dramatic concept. Subtle claims to be on the verge of projection
Projection (alchemy)
Projection was the ultimate goal of Western alchemy. Once the Philosopher's stone or powder of projection had been created, the process of Projection would be used to transmute a lesser substance into a higher form, often lead into gold....
in his offstage workroom, but all the characters in the play are overly-concerned with projection of a different kind: image-projection. The end result, in structural terms, is an onstage base of operations in Friars, to which can be brought a succession of unconsciously-comic characters from different social backgrounds, who hold different professions and different beliefs, but whose lowest common denominator – gullibility - grants them equal victim-status in the end. Dapper, the aspirant gambler, loses his stake; Sir Epicure Mammon loses his money and his dignity; Drugger, the would-be businessman, parts with his cash, but ends up no nearer to the success he craves; the Puritan duo, Tribulation and Ananias, never realize their scheme to counterfeit Dutch money.
Jonson reserves his harshest satire for these Puritan characters—perhaps because the Puritans, in real life, wished to close down the theaters. (Jonson's play Bartholomew Fair is also anti-Puritan.) Tellingly, of all those gulled in the play, it is the Puritans alone whom Jonson denies a brief moment of his audience’s pity; presumably, he reckons their life-denying self-righteousness renders them unworthy of it. Jonson consistently despises hypocrisy, especially religious hypocrisy that couches its damning judgments in high-flown language. Tribulation and Ananias call their fellow men "heathens" and in one case, say that someone's hat suggests "the Anti-Christ." That these Puritans are just as money-hungry as the rest of the characters is part of the ironic joke.
In many English and European comedies, it is up to a high-class character to resolve the confusion that has been caused by lower-class characters. In The Alchemist, Jonson subverts this tradition. Face's master, Lovewit, at first seems to assert his social and ethical superiority to put matters to rights. But when Face dangles before him the prospect of marriage to a younger woman, his master eagerly accepts. Both master and servant are always on the lookout for how to get ahead in life, regardless of ethical boundaries. Lovewit adroitly exploits Mammon’s reluctance to obtain legal certification of his folly to hold on to the old man’s money.
Stage History
Internal references indicate that the play was written for performance at Blackfriars; ironically, given its initial scenario, plague forced the company to tour, and The Alchemist premiered at Oxford in 1610, with performance in London later that year. Its success may be indicated by its performance at court in 1613 and again in 1623. Evidence of a more ambiguous kind is presented by the case of Thomas TomkisThomas Tomkis
Thomas Tomkis was an English playwright of the late Elizabethan and the Jacobean eras, and arguably one of the more cryptic figures of English Renaissance drama....
's Albumazar, performed for King James I
James I of England
James VI and I was King of Scots as James VI from 24 July 1567 and King of England and Ireland as James I from the union of the English and Scottish crowns on 24 March 1603...
at Cambridge
Cambridge
The city of Cambridge is a university town and the administrative centre of the county of Cambridgeshire, England. It lies in East Anglia about north of London. Cambridge is at the heart of the high-technology centre known as Silicon Fen – a play on Silicon Valley and the fens surrounding the...
in 1615. A tradition apparently originating with Dryden
John Dryden
John Dryden was an influential English poet, literary critic, translator, and playwright who dominated the literary life of Restoration England to such a point that the period came to be known in literary circles as the Age of Dryden.Walter Scott called him "Glorious John." He was made Poet...
held that Jonson had been influenced by Tomkis's academic comedy. Dryden may have mentioned Jonson to increase interest in a somewhat obscure play he was then reviving; he may also have been confused about the dates. At any rate, the question of influence now runs the other way. Albumazar is, primarily, an adaptation of Giambattista della Porta
Giambattista della Porta
Giambattista della Porta , also known as Giovanni Battista Della Porta and John Baptist Porta, was an Italian scholar, polymath and playwright who lived in Naples at the time of the Scientific Revolution and Reformation....
's "L'Astrologo"; however, both the similarity in subject matter and Tomkis's apparent familiarity with commercial dramaturgy make it possible that he was aware of The Alchemist, and may have been responding to the play's success.
The play continued onstage as a droll
Droll
A droll is a short comical sketch of a type that originated during the Puritan Interregnum in England. With the closure of the theatres, actors were left without any way of plying their art. Borrowing scenes from well-known plays of the Elizabethan theatre, they added dancing and other...
during the Commonwealth period; after the Restoration
English Restoration
The Restoration of the English monarchy began in 1660 when the English, Scottish and Irish monarchies were all restored under Charles II after the Interregnum that followed the Wars of the Three Kingdoms...
, it belonged to the repertory of the King's Men of Thomas Killigrew
Thomas Killigrew
Thomas Killigrew was an English dramatist and theatre manager. He was a witty, dissolute figure at the court of King Charles II of England.-Life and work:...
, who appear to have performed it with some frequency during their first years in operation. The play is not known to have been performed between 1675 and 1709, but the frequency of performance after 1709 suggests that it probably was. Indeed, the play was frequently performed during the eighteenth century; both Colley Cibber
Colley Cibber
Colley Cibber was an English actor-manager, playwright and Poet Laureate. His colourful memoir Apology for the Life of Colley Cibber describes his life in a personal, anecdotal and even rambling style...
and David Garrick
David Garrick
David Garrick was an English actor, playwright, theatre manager and producer who influenced nearly all aspects of theatrical practice throughout the 18th century and was a pupil and friend of Dr Samuel Johnson...
were notable successes in the role of Drugger, for whom a small amount of new material, including farces and monologues, in the latter half of the century was created.
After this period of flourishing, the play fell into desuetude, along with nearly all non-Shakespearean Renaissance drama, until the beginning of the twentieth century. William Poel
William Poel
William Poel was an English actor, theatrical manager and dramatist best known for his presentations of Shakespeare.-Life and career:...
's Elizabethan Stage Society
Elizabethan Stage Society
The Elizabethan Stage Society was a theatrical society dedicated to putting on productions of drama from the Elizabethan and Jacobean eras, particularly those of William Shakespeare. It was founded in 1895 by William Poel...
produced the play in 1899
1899 in literature
The year 1899 in literature involved some significant new books.-Events:*Edgar Rice Burroughs begins working in his father's business.*Rainer Maria Rilke travels to Moscow to meet Leo Tolstoy....
. This opening was followed a generation later by productions at Malvern
Malvern, Worcestershire
Malvern is a town and civil parish in Worcestershire, England, governed by Malvern Town Council. As of the 2001 census it has a population of 28,749, and includes the historical settlement and commercial centre of Great Malvern on the steep eastern flank of the Malvern Hills, and the former...
in 1932
1932 in literature
The year 1932 in literature involved some significant events and new books.-Events:*E. V. Knox replaces Sir Owen Seaman as editor of Punch magazine.*Samuel Beckett's first novel, Dream of Fair to Middling Women, is rejected by several publishers....
, with Ralph Richardson
Ralph Richardson
Sir Ralph David Richardson was an English actor, one of a group of theatrical knights of the mid-20th century who, though more closely associated with the stage, also appeared in several classic films....
as Face, and at the Old Vic
Old Vic
The Old Vic is a theatre located just south-east of Waterloo Station in London on the corner of The Cut and Waterloo Road. Established in 1818 as the Royal Coburg Theatre, it was taken over by Emma Cons in 1880 when it was known formally as the Royal Victoria Hall. In 1898, a niece of Cons, Lilian...
in 1947. In the latter production, Alec Guinness
Alec Guinness
Sir Alec Guinness, CH, CBE was an English actor. He was featured in several of the Ealing Comedies, including Kind Hearts and Coronets in which he played eight different characters. He later won the Academy Award for Best Actor for his role as Colonel Nicholson in The Bridge on the River Kwai...
played Drugger, alongside Richardson as Face.
The Oregon Shakespeare Festival
Oregon Shakespeare Festival
The Oregon Shakespeare Festival is a regional repertory theatre in Ashland, Oregon, United States. The festival annually produces eleven plays on three stages during a season that lasts from February to October...
staged a fast-paced, nearly farcical production in 1961; Gerard Larson played Face, and Nagle Jackson Face, under Edward Brubaker's direction. The performance received generally favorable reviews; however, a 1973 production set in the Wild West
American Old West
The American Old West, or the Wild West, comprises the history, geography, people, lore, and cultural expression of life in the Western United States, most often referring to the latter half of the 19th century, between the American Civil War and the end of the century...
setting did not; the setting was generally considered inconsistent with the tone and treatment of the play.
In 1962, Tyrone Guthrie
Tyrone Guthrie
Sir William Tyrone Guthrie was an English theatrical director instrumental in the founding of the Stratford Festival of Canada, the Guthrie Theater in Minneapolis, Minnesota and the Tyrone Guthrie Centre, at his family's home, Annaghmakerrig, in County Monaghan, Ireland.-Life and career:Guthrie...
produced a modernized version at the Old Vic, with Leo McKern
Leo McKern
Reginald "Leo" McKern, AO was an Australian-born British actor who appeared in numerous British and Australian television programmes and movies, and more than 200 stage roles.-Early life:...
as Subtle and Charles Gray
Charles Gray (actor)
Charles Gray was an English actor who was well-known for roles including the arch-villain Blofeld in the James Bond film Diamonds Are Forever, Sherlock Holmes' brother Mycroft Holmes in the Granada television series, and as The Criminologist in the cult classic The Rocky Horror Picture Show in...
as Mammon. Trevor Nunn
Trevor Nunn
Sir Trevor Robert Nunn, CBE is an English theatre, film and television director. Nunn has been the Artistic Director for the Royal Shakespeare Company, the Royal National Theatre, and, currently, the Theatre Royal, Haymarket. He has directed musicals and dramas for the stage, as well as opera...
's 1977 production with the Royal Shakespeare Company
Royal Shakespeare Company
The Royal Shakespeare Company is a major British theatre company, based in Stratford-upon-Avon, Warwickshire, England. The company employs 700 staff and produces around 20 productions a year from its home in Stratford-upon-Avon and plays regularly in London, Newcastle-upon-Tyne and on tour across...
featured Ian McKellen
Ian McKellen
Sir Ian Murray McKellen, CH, CBE is an English actor. He has received a Tony Award, two Academy Award nominations, and five Emmy Award nominations. His work has spanned genres from Shakespearean and modern theatre to popular fantasy and science fiction...
as a"greasy, misanthropic" Face, in a version adapted by Peter Barnes
Peter Barnes
Peter Barnes was an English Olivier Award-winning playwright and screenwriter. His most famous work is the play The Ruling Class, which was made into a 1972 film for which Peter O'Toole received an Oscar nomination....
. The original was played at the Royal National Theatre
Royal National Theatre
The Royal National Theatre in London is one of the United Kingdom's two most prominent publicly funded theatre companies, alongside the Royal Shakespeare Company...
, with Alex Jennings
Alex Jennings
Alex Jennings is an English actor whose roles have included Charles, Prince of Wales in The Queen .-Early years:...
and Simon Russell Beale
Simon Russell Beale
Simon Russell Beale, CBE is an English actor. He has been described by The Independent as "the greatest stage actor of his generation."-Early years:...
in the central roles, from September to November 2006. A contemporary dress production directed by Michael Kahn
Michael Kahn (theatre director)
Michael Kahn is the Artistic Director of the Shakespeare Theatre Company in Washington, D.C., USA. He held the position of Richard Rodgers Director of the Drama Division of the Juilliard School from 1992 to 2006....
opened the 2009/2010 season at the Shakespeare Theatre Company
Shakespeare Theatre Company
The Shakespeare Theatre Company is a regional theatre company located in Washington, D.C. Their self professed mission "is to present classic theatre of scope and size in an imaginative, skillful and accessible American style that honors the playwrights’ language and intentions while viewing their...
in Washington, DC.
In 2010 Hoxton Hall
Hoxton Hall
Hoxton Hall is a community centre and performance space in Hoxton, at 130 Hoxton Street, in the London Borough of Hackney.A grade II* listed building, the theatre was first built as a Music hall in 1863, as MacDonald's Music hall. It is an unrestored example of the saloon-style...
and Firehouse joined forces to stage a reworking of the classic, using contemporary stories from the local community in Hoxton
Hoxton
Hoxton is an area in the London Borough of Hackney, immediately north of the financial district of the City of London. The area of Hoxton is bordered by Regent's Canal on the north side, Wharf Road and City Road on the west, Old Street on the south, and Kingsland Road on the east.Hoxton is also a...
. The show was part of the Urbanism Season of August September 2010.
In April 2012, The Baron's Men, located in Austin, Texas, will stage the classic in it's original form using Elizabethan staging practices and costumes. The play will be performed at Richard Garriott's replica of The Globe Theater.
External links
- The Alchemist - Project Gutenberg eText
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