Epicœne: Analysis of Setting
"Epicœne," a play by Ben Jonson, is primarily set in London, though it presents this location in an abstract manner rather than as a richly detailed backdrop. The narrative unfolds across various residences, starting at the home of Ned Clerimont, where key characters initially congregate. Subsequent scenes are depicted in the households of Sir John Daw and Captain Tom Otter, before culminating in the abode of Morose, who becomes the focal point of the story. Morose's house serves as the primary setting for much of the action, particularly the wedding that the plot centers around. This setting is significant as it reflects Morose's character—he is a man who abhors noise and chaos, which leads him to isolate himself in his attic during the events. The play cleverly utilizes the domestic spaces to illustrate the unfolding comedy and social interactions, ultimately highlighting themes of marriage and personal conflict. The limited yet strategic use of settings contributes to the overall narrative without overwhelming the audience with specific geographical details.
Epicœne: Analysis of Setting
First published: 1616
First produced: 1609
Type of work: Drama
Type of plot: Comedy
Time of work: Early seventeenth century
Asterisk denotes entries on real places.
Places Discussed
*London
*London. Jonson provides limited references to location, setting the play only in “London,” an abstraction rather than a detailed place. The play’s scenes move from home to home, beginning with that of Ned Clerimont’s house, where the key characters meet in the first four scenes. Another scene is set in Sir John Daw’s house, and three scenes are set in Captain Tom Otter’s house, and then the plays moves on to Morose’s home.
Morose’s house
Morose’s house. Since Morose is the center of attention, the wedding is his, and the joke is played on him, it is appropriate that most of the action occurs in his home. The wedding takes place there, as guests, food, and entertainment pour in from other homes. Unable to stand any noise except that of his own voice, Morose locks himself in his attic to escape the shrill chiding of his new wife. Although he goes to the law courts to seek a divorce, viewers hear about what happens here in his home, and the final unveiling of the bride takes place here too.
Bibliography
Barish, Jonas A. Ben Jonson and the Language of Prose Comedy. New York: Norton, 1960. An influential work, one that is essential to any study of Jonson’s comedies.
Brock, D. Heyward. A Ben Jonson Companion. Bloomington: Indiana University Press, 1983. A valuable source of information on Jonson’s work, life, and times. A bibliography is included.
Enck, John J. Jonson and the Comic Truth. Madison: University of Wisconsin Press, 1966. Essential to any study of Jonson’s comedies. Barish and Enck’s studies are in many ways complementary.
Mirabelli, Philip. “Silence, Wit and Wisdom in The Silent Woman.” Studies in English Literature, 1500-1900 29 (Spring, 1989): 309-336. Argues that Truewit knows all, sees all, and knows that Epicœne is a boy. Purports that Jonson has a moral commentator, Truewit, who is motivated by the highest ideal of friendship.
Newman, Karen. “City Talk: Women and Commodification in Jonson’s Epicœne.” English Literary History 56 (Fall, 1989): 503-518. An insightful, feminist essay on history, but admittedly extra-literary.
Noyes, Robert Gale. Ben Jonson on the English Stage: 1660-1776. New York: Benjamin Blom, 1963. Provides valuable information on performers and productions, as provided in contemporary records by such diverse notables as John Dryden, John Dennis, Samuel Pepys, Jeremy Collier, Thomas Shadwell, and William Congreve.