本·琼森宫廷假面剧与自我作者化研究
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摘要
柏拉图以降两千余年的西方文艺理论都充斥着作者的身影,故,作者问题是文学中最本源的问题。但作者作为一个文化概念却又是一个非常新近的现象,福柯认为,作者是18世纪术至19世纪初才逐渐被看着是他们创作的文本所有者,那时,所有权制度和版权观念才建立起来。此前,在欧洲文艺领域占主导地位的是著名的文艺庇护制度,艺术品反映的是恩主的品位、需求和期望,因而不可能主要被理解为艺术家个人信仰、追求和情感的具象化体现。在这样的历史语境下,伴随着文艺复兴时期人的自我意识的觉醒,一些艺术家开始思考自身的职业身份,并在作品内外主动参与这种身份的打造和建构。该时期著名的剧作者、诗人本·琼森即是这类艺术家之一
琼森对英国作者身份制度化的贡献是人所共知的。纵观他的各类作品(戏剧、诗歌和娱乐),都可以发现或隐或显的作者身影,但琼森作者研究在戏剧和诗歌中已得到充分的开展,而在宫廷假面剧中却处于相对初始的阶段。英国宫廷假面剧是斯图亚特王朝一道亮丽的文化景观。20世纪七、八十年年代以来,随着各种文化理论尤其是新历史主义批评理论的兴起,该文类丰富的政治文化内涵吸引了英美学界众多论者的眼球。特别引人注目的是其中涉及的政治主题,不少人认为英国宫廷假面剧是斯图亚特王朝王权的书写、宫廷各派系之间对话和角力的场所。这类研究中,假面剧文本的写作者往往被视为简单的传声筒,他们不被当作“作者”,因为宫廷假面剧毫无疑问的“作者”是君王、王室成员或者某位恩主。因此,一些论者,比如著名的假面剧研究专家马丁·巴特勒,认为为白厅创作的剧作家可操纵的自由较少,在可选材料和可表达观点方面较受限制,因此,脚本写作者处于边缘化的“宫廷仆人”或“御用文人”地位,完全谈不上“作者”这一在现代社会具有权威而尊崇的身份。但宫廷假面剧的作者问题并不如看似那么简单,也开始引发学者们的关注,有论者认为假面剧的作者权问题需要得到彻底的修正。
本文以此为立论基础,以斯图亚特王朝宫廷桂冠诗人琼森创作的宫廷假面剧为研究对象,运用文化研究理论和方法,结合文本细读,考察琼森如何巧妙地运用各种技巧使这一文类成为自我表达、自我提升和自我立名的手段。由此可以发现,宫廷假面剧对琼森而言并非纯粹的“应景之作”,而是他倾其一生为之奋斗的“作者规划”宏图中的重要组成部分,体现在文艺复兴时期文艺庇护制度下以及新兴的图书市场中,作者如何通过作品的生产、流通和消费发出自己的声音,以期建立自主独立的作者身份,表明文艺复兴木期的作者不再被动依赖并不可靠的恩主给予他们的资助,也不简单屈从于出版商的意志,而是在对作者身份和功能的敏锐意识中积极参与“自我作者化”,进而推进“文学作品市场化”的过程。这一过程预示着“作者”作为“作品之父”以及“作品知识产权所有者”这一现代作者概念的初现。除引言与结语外,全文分三章。
引言部分介绍了本选题的缘起及意义,认为宫廷假面剧这一特殊的文类涉及身份、自我塑造和作者问题,并就“自我作者化”进行了简单的界定；随后对琼森研究中的作者问题进行了简要的总结和评述,发现相对于琼森其它文类中的作者研究,宫廷假面剧所涉及的作者问题仍旧存在较大的研究空间和可能；该部分的第三小节则就本研究的理论和方法进行了介绍。理论主要包括两个方面。第一是文化研究理论,包括以格林布拉特为首提出的新历史主义、莫斯的馈赠交换理论和鲍德里亚有关现代消费的相关理论；第二是作者理论中涉及到的主体性理论。同时,在考察假面剧的书籍形态及作者意图时,本文还将借鉴热奈特关于副文本的相关论述进行。研究方法涉及文本细读、文献考据、轶事嫁接等。
第一章探讨了英国宫廷假面剧的传统和研究,并引入了自我表现主题,包括两个小节。第一小节追溯了英国宫廷假面剧的起源与传统,并对宫廷假面剧研究进行了概述。指出英国宫廷假面剧的发展历程是对国内外诸多成分借鉴和吸纳的过程。它以英国本土娱乐和宫廷欢宴活动为基础,充分吸取欧洲大陆民俗和宫廷娱乐艺术,经过中世纪后期、都铎王朝、斯图亚特王朝,演变为一种具有浓重政治和文化内蕴的艺术形式。英国宫廷假面剧传统中这种集精英与大众文化为一体的特点,为琼森自我作者化在文艺庇护制度下实现馈赠交换和图书市场中实现商品交换提供了可能。本小节随后对英国宫廷假面剧的现代研究进行了简单的综述,认为假面剧研究主要在文类研究、图像学研究、主题研究、文化研究和跨学科研究五个方面进行。第二小节论述了宫廷假面剧的特点及其与自我的关联。本章旨在对宫廷假面剧这一文类的传统、研究成果进行概略性的把握,并从中引出“自我”这一主题。
第二章考察了琼森在宫廷假面剧中的三种作者策略：自我表达、自我提升和自我立名。作为作者策略的第一种,自我表达主要体现为两个方面。其一,琼森通过对古典作家的模仿和对古典神话与古老宇宙论的大量运用,彰显诗人崇高的诗学理想和诗歌地位,凸显诗人的主体意识。该部分归纳了几种琼森宫廷假面剧中常见的神话类型,并以“爱神”神话为例,探讨了琼森如何通过神话和传统宇宙论意象进行自我表达和自我作者化。其二,琼森通过在宫廷假面剧中塑造各种不同的作者“代言‘或分身”和“反衬角色”,歌颂正义、和平和仁爱,鞭笞丑陋和邪恶,从正反两方面表现自己的意图。琼森以宫廷假面剧作为自我表达的手段是作家个人主体性在艺术审美活动中的体现。
琼森作者策略的第二种是借助宫廷假面剧实现自我提升,也体现为两个方面的努力。第一就是依照当时盛行的诗学原则,通过正副文本对假面剧进行打造和提升,使之摆脱“消遣”、“娱乐”和“谄媚术”之类的责难,成为具有高度美学性和思想性的严肃文学文类,如此,假面剧作家就摆脱了“文丐”、“御用文人’等骂名而成为理想君王美德的倡导者和不良德行的鞭笞者,这一策略更好地实现了作者的自我提升。第二就是利用斯图亚特王朝独特的宫廷政治情势,通过为王朝不同对象创作,在不同政治派系和王室成员的纷争中充当调停人和斡旋者的身份,藉此实现诗人的政治抱负。宫廷假面剧中艺术与政治的合谋,是对文艺复兴时期诗人通过诗歌干预政治和文化的彰显,体现了文化与权力在彼此塑造、相互影响中共生共存的实质,是该时期的文人高调地展示自我及作者主体性的表征。
琼森作者策略的第三种是借助宫廷假面剧实现自我立名。具体方式就是通过在作品中大量引入声誉主题,并将这一主题与文艺复兴时期人们对书籍的兴趣和诗人通过著述实现声名久存的理想结合。这一理想的达成依赖于出版,假面剧的出版使颂扬的对象和作家的声誉能恒久流传,同时出版后的假面剧完成了从表演文类到阅读文类的转变,增大了其读者范围。根据莫斯的馈赠交换理论,馈赠物在流通中其象征性符码价值能得到增大；不仅如此,琼森假面剧通过与好的出版商的合作,实际上也是一种有效的文学市场策略,能赢得更多读者的青睐。通过出版保存声誉,与文艺复兴时期人的自我意识和主体发展是密切相关的。
论文第三章探讨了琼森自我作者化策略与现代作者概念的诞生。本章第一小节认为琼森自我作者化的努力体现为对诗歌的维护和诗学的建构,而1616年对开本《作品集》的出版和印刷则是这种努力的集中体现,它奠定并验证了一种新的作者观,体现了作者自我维护、自我纪念和自我推销的倾向。第二小节从宫廷假面剧所具有的界定和区分性文类特点出发,探讨了在文艺复兴时期文艺庇护制度这一大的历史语境下,琼森如何使宫廷假面剧因其巨大的象征性符码价值成为琼森自我作者化最见成效的文类之一。
最后是本文的结语。该部分对全文内容进行了总结,指出琼森在对文类和时代语境的敏锐把握下,利用宫廷假面剧在馈赠交换和商品市场交换活动中,从文本内外最大限度实现自我作者化,是文艺复兴时期文人在主体意识日渐张扬的情况下,通过控制作品的生产、流通和消费,积极主动参与个人职业身份的建构的努力,该努力直接促成了琼森1616《作品集》出版这一英国文学史上里程碑事件的发生,为世界第一部著作权法,即1710年《安娜法》在英国的通过创设了良好的舆论基础,并产生了一定的示范效应。
综上所述,本文以当代文化研究理论为基础,运用文本细读和轶事嫁接等方法,探讨了这样一种现象,即在文化作为一个整体中,其中的先进分子或优秀成员如何参与体现并维护某些基本意识形态范畴,而最终却又极大地改变了这些范畴以及相应的意识形态内涵的努力,该过程就是新历史主义批评强调的作者和文本的双向互动建构过程。这一过程表明艺术家顺应时下话语并主动与主流话语共谋的同时,积极宣扬新的观念,创建新的事物,是该时期人的主体性得到极大张扬的表现。
Ever since Plato, the figure of author has dominated the whole western literary theories for more than2000years and the author problem in literature is of primary importance. However, the coming into being of author as a cultural concept is a very recent phenomenon. According to Foucault, author came to be recognized as the owner of the work at the end of the eighteenth and the beginning of the nineteenth century, when a system of ownership for texts and copy rights was enacted. Before this, what had prevailed in the literary and artistic world in Europe was the influential patronage system. In such a system, the artistic works could not have been understood as the making concrete of an individual artist's personal beliefs, pursuits and emotions. Instead, it was the tastes, desires, and expectations of the patrons who commissioned the artist that were meant to be expressed. In such historical milieu, with man's self-consciousness awaking during the English Renaissance, some artists began to think about their professional identity and embarked on the making and construction of such an identity in literary and extra-literary activities. As a distinguished dramatist and poet of this period, Ben Jonson was one of them.
Ben Jonson is well-known for the institution of authorship in Britain. Throughout all his works, such as dramas, poems and entertainments, is permeated an implicit or explicit authorial figure. Authorial study in Jonson's drama and poetry has been fully explored whereas it remains a relatively weak area in his court masques. As a fascinating cultural product, English court masque is rich in political and cultural valence. During the1980s, with the rise of multitudinous cultural theories, English court masque began to draw the attention of the scholars in both Britain and America. Its political theme has been profoundly researched. Many scholars held that it is the expression of the Stuart royal power, as well as the site of the courtly negotiations and struggles among the court factions. In these studies, the scripter of the court masque was generally viewed as the royal mouthpiece rather than its "author" in that the "author" of a court masque was undoubtedly the king, the royal family member or some patron. Therefore, scholars like Martin Butler, who is a renowned masque researcher, think that a scripter for the White Hall had little freedom in subject and idea. In such case, he was marginalized as the court servant or hired scribbler, far from the authoritative and dignified title of "author" in the modern sense. But the authorship of court masque is not as simple as it seems and has caught the attention of some scholars. One of them even claimed that the entire question of masque authorship needed a thorough revision.
By using theories of cultural studies and methods such as close reading and anedotalism, this dissertation makes this claim as the point of departure to study the court masques written by the Stuart Poet Laureate Ben Jonson, in the hope of investigating how he subtly makes this genre as the means to carry out self-expression, self-elevation and self-monumentalization. Through careful investigations, we find that court masques mean more than mere occasional writings for Jonson. Instead, they are a vital constituent to his life-long "authorial project". They provide space for him to have his voice heard through the production, circulation and consumption of his works so that he could establish an independent and autonomous authorship under the context of patronage system and the emerging book market. This fact suggests that some late Renaissance writers would no longer passively rely on their undependable patrons for financial aid, nor would they simply yield to the publisher's will. On the contrary, they actively participated in "the self-authorization or self-making as an author" and even "the commodification of literary works" as a result of their keen consciousness of authorial identity and author functions. This process ushers in the emergency of modern author as progenitor and intellectual proprietor of his work. Except for introduction and conclusion, the dissertation consists of3chapters.
Introduction bases itself on the fact that court masque as a special genre involves identity, self-fashioning and author problem to set up the feasibility of this study and then its significance is highlighted. After the simple definition of "self-authorization" is the literature review of Jonson's authorial study, from which we know there exist room and possibility of author study in Jonson's court masques. The third section of this part is about critical theories and methods. Theories include theories in cultural studies, such as Greenblatt's New Historicism, Mauss'Gift/Exchange Theory and Baudrillard's theory of consumption, as well as the subjectivity of author in author theories. Besides, Genette's theory's paratext will be used while studying the physical appearance of the book. Methods used here are close reading, anecdotalism, etc.
Chapter one investigates the tradition, research findings and the theme of self-representation in English court masque. It has2sections. Section one traces its origin and tradition to find out that the history of English court masque is the outcome of borrowings and absorptions of native and foreign elements. It has the native English folk entertainments and court revels as its bases and takes in the European folk-customs and court pageantry and ultimately develops itself into an elaborate artistic form rich in political and cultural meanings through Middle Ages, the Tudor Dynasty and the Stuart Dynasty. Such a combination of elite and popular culture makes it possible for Jonson to self-authorize in both gift and commodity exchange systems dominated by patronage and market respectively. Then this section summarizes the researches up to date in court masques. They are genre study, iconographical study, thematic study, cultural study and interdisciplinary study in all. Section two focuses on the characteristics of court masque to elicit the theme of self-representation in it. This chapter intends to provide a sketch to the tradition, the research findings of English court masque and bring the theme of self-representation in it into focus.
Chapter two explores the three authorial strategies in Jonson's court masques. They are self-expression, self-elevation and self-monumentalization. The authorial strategy of self-expression is illustrated in two aspects. The first one goes as follows. Jonson models himself on classic writers and borrows images and ideas from the ancient mythology and cosmology to express his sublimity in poetic ideal and dignity in poetic world, the ultimate purpose of which is to highlight man's subjectivity. This section sums up several types of mythology and takes "Godess of Love" as an example to study how Jonson uses ancient mythology and cosmology to self-authorize. The second aspect in Jonson's authorial self-expression is to create certain characters to express his ideas and attitudes. On the one hand he introduces surrogates to praise justice, peace and love; on the other hand, he uses foils to lash ugliness and vices of the society. The fact that Jonson makes court masque as a channel to express his thinking embodies a writer's initiative in aesthetic activities.
Jonson's second authorial strategy in court masque is to make it a means to achieve self-elevation. It also involves two efforts. To start with, Jonson follows the then prevalent poetics to fashion the court masque into a formal literary genre rich in aesthetical value and ideological seriousness, making it free from such censures as toys, entertainments and flattery. Accordingly, the scripter of court masque is also liberated from the infamous labels of hack or hired scribbler and elevated into the role of advocate of princely virtues and the lasher of immoralities. The second aspect in Jonson's self-elevation is to make the most of the unique Stuart court political situation to set himself as the accommodator or mediator by writing for the different royal members or court factions so that his political ambitions are made clear. The conspiracy of art and politics in the English court masques is the reflection of the Renaissance poet's interference into the politics and culture, which embodies the fact that culture and politics coexist in a symbiotic relationship. Jonson's effort in such a relationship is a writer's enthusiastic representation of himself and his authorial subjectivity.
The third authorial strategy in Jonson's court masque is to make it a medium to accomplish self-monumentalization. This is effectuated through the theme of fame. During the Renaissance, man's concern for fame was related with his interest in book. Writers realized that they could remain immortal or monumentalized through their books and printing provided the perfect tool. The printing of court masque helps preserve the fame of both the praised and the writer; in the meantime, it helps transform the court masque from a performance genre into a reading genre, expanding its audience. According to Mauss'Gift/Exchange Theory, the gift's symbolic sign value will enlarge during the circulation. In addition, Jonson's cooperation with renowned publisher is essentially an effective marketing strategy in literary market since it can win more readers' interest. To summarize, printing individual's writing to immortalize one's fame has much to do with man's increasing self-consciousness and subjectivity development.
Chapter three discusses Jonson's self-authorization and the birth of modern author. It is divided into two sections. The first section suggests that Jonson's effort in self-authorization is displayed in his defense for poetry and construction of poetics, the epitome of which is the publishing of The Works of Benjamin Jonson in1616. This collection of work establishes and confirms a new ideology of authorship, which proves a writer's inclination to defend, monumentalize and promote oneself. The second section begins with the defining and classifying feature of the court masque to discover how Jonson makes it one of the most effective genres in his self-authorization through its immense symbolic sign value.
Conclusion argues that Jonson's endeavor in his court masque to self-authorize is the manifestation of the Renaissance writer's success to construct his professional identity. Such success is achieved through controlling the production, circulation and consumption of his writings in both the gift and commodity exchange systems under the guidance of his profound understanding of a genre and the historical context. Jonson's achievement proves man's awakening of subject consciousness in Renaissance and prepares for the publication of the1616Folio as a milestone and model in British literary history. The1616Folio ushers in the passage of the first copyright law "The Statute of Anne" in1710.
To sum up, this dissertation relies on contemporary cultural theories and such methods as close reading and anecdotalism to investigate a cultural phenomenon. It involves how the best members of a culture reflect and maintain some fundamental ideological categories, and ultimately change them and their ideological connotations. This is what New Historicists call a two-way interactive construction process between the author and the text. In such a process, the artist actively promotes new concepts and creates new things while conforming to the current discourse and conspiring with the mainstream discourse. It is, in essence, the manifestation of man's subjectivity.
琼森对英国作者身份制度化的贡献是人所共知的。纵观他的各类作品(戏剧、诗歌和娱乐),都可以发现或隐或显的作者身影,但琼森作者研究在戏剧和诗歌中已得到充分的开展,而在宫廷假面剧中却处于相对初始的阶段。英国宫廷假面剧是斯图亚特王朝一道亮丽的文化景观。20世纪七、八十年年代以来,随着各种文化理论尤其是新历史主义批评理论的兴起,该文类丰富的政治文化内涵吸引了英美学界众多论者的眼球。特别引人注目的是其中涉及的政治主题,不少人认为英国宫廷假面剧是斯图亚特王朝王权的书写、宫廷各派系之间对话和角力的场所。这类研究中,假面剧文本的写作者往往被视为简单的传声筒,他们不被当作“作者”,因为宫廷假面剧毫无疑问的“作者”是君王、王室成员或者某位恩主。因此,一些论者,比如著名的假面剧研究专家马丁·巴特勒,认为为白厅创作的剧作家可操纵的自由较少,在可选材料和可表达观点方面较受限制,因此,脚本写作者处于边缘化的“宫廷仆人”或“御用文人”地位,完全谈不上“作者”这一在现代社会具有权威而尊崇的身份。但宫廷假面剧的作者问题并不如看似那么简单,也开始引发学者们的关注,有论者认为假面剧的作者权问题需要得到彻底的修正。
本文以此为立论基础,以斯图亚特王朝宫廷桂冠诗人琼森创作的宫廷假面剧为研究对象,运用文化研究理论和方法,结合文本细读,考察琼森如何巧妙地运用各种技巧使这一文类成为自我表达、自我提升和自我立名的手段。由此可以发现,宫廷假面剧对琼森而言并非纯粹的“应景之作”,而是他倾其一生为之奋斗的“作者规划”宏图中的重要组成部分,体现在文艺复兴时期文艺庇护制度下以及新兴的图书市场中,作者如何通过作品的生产、流通和消费发出自己的声音,以期建立自主独立的作者身份,表明文艺复兴木期的作者不再被动依赖并不可靠的恩主给予他们的资助,也不简单屈从于出版商的意志,而是在对作者身份和功能的敏锐意识中积极参与“自我作者化”,进而推进“文学作品市场化”的过程。这一过程预示着“作者”作为“作品之父”以及“作品知识产权所有者”这一现代作者概念的初现。除引言与结语外,全文分三章。
引言部分介绍了本选题的缘起及意义,认为宫廷假面剧这一特殊的文类涉及身份、自我塑造和作者问题,并就“自我作者化”进行了简单的界定；随后对琼森研究中的作者问题进行了简要的总结和评述,发现相对于琼森其它文类中的作者研究,宫廷假面剧所涉及的作者问题仍旧存在较大的研究空间和可能；该部分的第三小节则就本研究的理论和方法进行了介绍。理论主要包括两个方面。第一是文化研究理论,包括以格林布拉特为首提出的新历史主义、莫斯的馈赠交换理论和鲍德里亚有关现代消费的相关理论；第二是作者理论中涉及到的主体性理论。同时,在考察假面剧的书籍形态及作者意图时,本文还将借鉴热奈特关于副文本的相关论述进行。研究方法涉及文本细读、文献考据、轶事嫁接等。
第一章探讨了英国宫廷假面剧的传统和研究,并引入了自我表现主题,包括两个小节。第一小节追溯了英国宫廷假面剧的起源与传统,并对宫廷假面剧研究进行了概述。指出英国宫廷假面剧的发展历程是对国内外诸多成分借鉴和吸纳的过程。它以英国本土娱乐和宫廷欢宴活动为基础,充分吸取欧洲大陆民俗和宫廷娱乐艺术,经过中世纪后期、都铎王朝、斯图亚特王朝,演变为一种具有浓重政治和文化内蕴的艺术形式。英国宫廷假面剧传统中这种集精英与大众文化为一体的特点,为琼森自我作者化在文艺庇护制度下实现馈赠交换和图书市场中实现商品交换提供了可能。本小节随后对英国宫廷假面剧的现代研究进行了简单的综述,认为假面剧研究主要在文类研究、图像学研究、主题研究、文化研究和跨学科研究五个方面进行。第二小节论述了宫廷假面剧的特点及其与自我的关联。本章旨在对宫廷假面剧这一文类的传统、研究成果进行概略性的把握,并从中引出“自我”这一主题。
第二章考察了琼森在宫廷假面剧中的三种作者策略：自我表达、自我提升和自我立名。作为作者策略的第一种,自我表达主要体现为两个方面。其一,琼森通过对古典作家的模仿和对古典神话与古老宇宙论的大量运用,彰显诗人崇高的诗学理想和诗歌地位,凸显诗人的主体意识。该部分归纳了几种琼森宫廷假面剧中常见的神话类型,并以“爱神”神话为例,探讨了琼森如何通过神话和传统宇宙论意象进行自我表达和自我作者化。其二,琼森通过在宫廷假面剧中塑造各种不同的作者“代言‘或分身”和“反衬角色”,歌颂正义、和平和仁爱,鞭笞丑陋和邪恶,从正反两方面表现自己的意图。琼森以宫廷假面剧作为自我表达的手段是作家个人主体性在艺术审美活动中的体现。
琼森作者策略的第二种是借助宫廷假面剧实现自我提升,也体现为两个方面的努力。第一就是依照当时盛行的诗学原则,通过正副文本对假面剧进行打造和提升,使之摆脱“消遣”、“娱乐”和“谄媚术”之类的责难,成为具有高度美学性和思想性的严肃文学文类,如此,假面剧作家就摆脱了“文丐”、“御用文人’等骂名而成为理想君王美德的倡导者和不良德行的鞭笞者,这一策略更好地实现了作者的自我提升。第二就是利用斯图亚特王朝独特的宫廷政治情势,通过为王朝不同对象创作,在不同政治派系和王室成员的纷争中充当调停人和斡旋者的身份,藉此实现诗人的政治抱负。宫廷假面剧中艺术与政治的合谋,是对文艺复兴时期诗人通过诗歌干预政治和文化的彰显,体现了文化与权力在彼此塑造、相互影响中共生共存的实质,是该时期的文人高调地展示自我及作者主体性的表征。
琼森作者策略的第三种是借助宫廷假面剧实现自我立名。具体方式就是通过在作品中大量引入声誉主题,并将这一主题与文艺复兴时期人们对书籍的兴趣和诗人通过著述实现声名久存的理想结合。这一理想的达成依赖于出版,假面剧的出版使颂扬的对象和作家的声誉能恒久流传,同时出版后的假面剧完成了从表演文类到阅读文类的转变,增大了其读者范围。根据莫斯的馈赠交换理论,馈赠物在流通中其象征性符码价值能得到增大；不仅如此,琼森假面剧通过与好的出版商的合作,实际上也是一种有效的文学市场策略,能赢得更多读者的青睐。通过出版保存声誉,与文艺复兴时期人的自我意识和主体发展是密切相关的。
论文第三章探讨了琼森自我作者化策略与现代作者概念的诞生。本章第一小节认为琼森自我作者化的努力体现为对诗歌的维护和诗学的建构,而1616年对开本《作品集》的出版和印刷则是这种努力的集中体现,它奠定并验证了一种新的作者观,体现了作者自我维护、自我纪念和自我推销的倾向。第二小节从宫廷假面剧所具有的界定和区分性文类特点出发,探讨了在文艺复兴时期文艺庇护制度这一大的历史语境下,琼森如何使宫廷假面剧因其巨大的象征性符码价值成为琼森自我作者化最见成效的文类之一。
最后是本文的结语。该部分对全文内容进行了总结,指出琼森在对文类和时代语境的敏锐把握下,利用宫廷假面剧在馈赠交换和商品市场交换活动中,从文本内外最大限度实现自我作者化,是文艺复兴时期文人在主体意识日渐张扬的情况下,通过控制作品的生产、流通和消费,积极主动参与个人职业身份的建构的努力,该努力直接促成了琼森1616《作品集》出版这一英国文学史上里程碑事件的发生,为世界第一部著作权法,即1710年《安娜法》在英国的通过创设了良好的舆论基础,并产生了一定的示范效应。
综上所述,本文以当代文化研究理论为基础,运用文本细读和轶事嫁接等方法,探讨了这样一种现象,即在文化作为一个整体中,其中的先进分子或优秀成员如何参与体现并维护某些基本意识形态范畴,而最终却又极大地改变了这些范畴以及相应的意识形态内涵的努力,该过程就是新历史主义批评强调的作者和文本的双向互动建构过程。这一过程表明艺术家顺应时下话语并主动与主流话语共谋的同时,积极宣扬新的观念,创建新的事物,是该时期人的主体性得到极大张扬的表现。
Ever since Plato, the figure of author has dominated the whole western literary theories for more than2000years and the author problem in literature is of primary importance. However, the coming into being of author as a cultural concept is a very recent phenomenon. According to Foucault, author came to be recognized as the owner of the work at the end of the eighteenth and the beginning of the nineteenth century, when a system of ownership for texts and copy rights was enacted. Before this, what had prevailed in the literary and artistic world in Europe was the influential patronage system. In such a system, the artistic works could not have been understood as the making concrete of an individual artist's personal beliefs, pursuits and emotions. Instead, it was the tastes, desires, and expectations of the patrons who commissioned the artist that were meant to be expressed. In such historical milieu, with man's self-consciousness awaking during the English Renaissance, some artists began to think about their professional identity and embarked on the making and construction of such an identity in literary and extra-literary activities. As a distinguished dramatist and poet of this period, Ben Jonson was one of them.
Ben Jonson is well-known for the institution of authorship in Britain. Throughout all his works, such as dramas, poems and entertainments, is permeated an implicit or explicit authorial figure. Authorial study in Jonson's drama and poetry has been fully explored whereas it remains a relatively weak area in his court masques. As a fascinating cultural product, English court masque is rich in political and cultural valence. During the1980s, with the rise of multitudinous cultural theories, English court masque began to draw the attention of the scholars in both Britain and America. Its political theme has been profoundly researched. Many scholars held that it is the expression of the Stuart royal power, as well as the site of the courtly negotiations and struggles among the court factions. In these studies, the scripter of the court masque was generally viewed as the royal mouthpiece rather than its "author" in that the "author" of a court masque was undoubtedly the king, the royal family member or some patron. Therefore, scholars like Martin Butler, who is a renowned masque researcher, think that a scripter for the White Hall had little freedom in subject and idea. In such case, he was marginalized as the court servant or hired scribbler, far from the authoritative and dignified title of "author" in the modern sense. But the authorship of court masque is not as simple as it seems and has caught the attention of some scholars. One of them even claimed that the entire question of masque authorship needed a thorough revision.
By using theories of cultural studies and methods such as close reading and anedotalism, this dissertation makes this claim as the point of departure to study the court masques written by the Stuart Poet Laureate Ben Jonson, in the hope of investigating how he subtly makes this genre as the means to carry out self-expression, self-elevation and self-monumentalization. Through careful investigations, we find that court masques mean more than mere occasional writings for Jonson. Instead, they are a vital constituent to his life-long "authorial project". They provide space for him to have his voice heard through the production, circulation and consumption of his works so that he could establish an independent and autonomous authorship under the context of patronage system and the emerging book market. This fact suggests that some late Renaissance writers would no longer passively rely on their undependable patrons for financial aid, nor would they simply yield to the publisher's will. On the contrary, they actively participated in "the self-authorization or self-making as an author" and even "the commodification of literary works" as a result of their keen consciousness of authorial identity and author functions. This process ushers in the emergency of modern author as progenitor and intellectual proprietor of his work. Except for introduction and conclusion, the dissertation consists of3chapters.
Introduction bases itself on the fact that court masque as a special genre involves identity, self-fashioning and author problem to set up the feasibility of this study and then its significance is highlighted. After the simple definition of "self-authorization" is the literature review of Jonson's authorial study, from which we know there exist room and possibility of author study in Jonson's court masques. The third section of this part is about critical theories and methods. Theories include theories in cultural studies, such as Greenblatt's New Historicism, Mauss'Gift/Exchange Theory and Baudrillard's theory of consumption, as well as the subjectivity of author in author theories. Besides, Genette's theory's paratext will be used while studying the physical appearance of the book. Methods used here are close reading, anecdotalism, etc.
Chapter one investigates the tradition, research findings and the theme of self-representation in English court masque. It has2sections. Section one traces its origin and tradition to find out that the history of English court masque is the outcome of borrowings and absorptions of native and foreign elements. It has the native English folk entertainments and court revels as its bases and takes in the European folk-customs and court pageantry and ultimately develops itself into an elaborate artistic form rich in political and cultural meanings through Middle Ages, the Tudor Dynasty and the Stuart Dynasty. Such a combination of elite and popular culture makes it possible for Jonson to self-authorize in both gift and commodity exchange systems dominated by patronage and market respectively. Then this section summarizes the researches up to date in court masques. They are genre study, iconographical study, thematic study, cultural study and interdisciplinary study in all. Section two focuses on the characteristics of court masque to elicit the theme of self-representation in it. This chapter intends to provide a sketch to the tradition, the research findings of English court masque and bring the theme of self-representation in it into focus.
Chapter two explores the three authorial strategies in Jonson's court masques. They are self-expression, self-elevation and self-monumentalization. The authorial strategy of self-expression is illustrated in two aspects. The first one goes as follows. Jonson models himself on classic writers and borrows images and ideas from the ancient mythology and cosmology to express his sublimity in poetic ideal and dignity in poetic world, the ultimate purpose of which is to highlight man's subjectivity. This section sums up several types of mythology and takes "Godess of Love" as an example to study how Jonson uses ancient mythology and cosmology to self-authorize. The second aspect in Jonson's authorial self-expression is to create certain characters to express his ideas and attitudes. On the one hand he introduces surrogates to praise justice, peace and love; on the other hand, he uses foils to lash ugliness and vices of the society. The fact that Jonson makes court masque as a channel to express his thinking embodies a writer's initiative in aesthetic activities.
Jonson's second authorial strategy in court masque is to make it a means to achieve self-elevation. It also involves two efforts. To start with, Jonson follows the then prevalent poetics to fashion the court masque into a formal literary genre rich in aesthetical value and ideological seriousness, making it free from such censures as toys, entertainments and flattery. Accordingly, the scripter of court masque is also liberated from the infamous labels of hack or hired scribbler and elevated into the role of advocate of princely virtues and the lasher of immoralities. The second aspect in Jonson's self-elevation is to make the most of the unique Stuart court political situation to set himself as the accommodator or mediator by writing for the different royal members or court factions so that his political ambitions are made clear. The conspiracy of art and politics in the English court masques is the reflection of the Renaissance poet's interference into the politics and culture, which embodies the fact that culture and politics coexist in a symbiotic relationship. Jonson's effort in such a relationship is a writer's enthusiastic representation of himself and his authorial subjectivity.
The third authorial strategy in Jonson's court masque is to make it a medium to accomplish self-monumentalization. This is effectuated through the theme of fame. During the Renaissance, man's concern for fame was related with his interest in book. Writers realized that they could remain immortal or monumentalized through their books and printing provided the perfect tool. The printing of court masque helps preserve the fame of both the praised and the writer; in the meantime, it helps transform the court masque from a performance genre into a reading genre, expanding its audience. According to Mauss'Gift/Exchange Theory, the gift's symbolic sign value will enlarge during the circulation. In addition, Jonson's cooperation with renowned publisher is essentially an effective marketing strategy in literary market since it can win more readers' interest. To summarize, printing individual's writing to immortalize one's fame has much to do with man's increasing self-consciousness and subjectivity development.
Chapter three discusses Jonson's self-authorization and the birth of modern author. It is divided into two sections. The first section suggests that Jonson's effort in self-authorization is displayed in his defense for poetry and construction of poetics, the epitome of which is the publishing of The Works of Benjamin Jonson in1616. This collection of work establishes and confirms a new ideology of authorship, which proves a writer's inclination to defend, monumentalize and promote oneself. The second section begins with the defining and classifying feature of the court masque to discover how Jonson makes it one of the most effective genres in his self-authorization through its immense symbolic sign value.
Conclusion argues that Jonson's endeavor in his court masque to self-authorize is the manifestation of the Renaissance writer's success to construct his professional identity. Such success is achieved through controlling the production, circulation and consumption of his writings in both the gift and commodity exchange systems under the guidance of his profound understanding of a genre and the historical context. Jonson's achievement proves man's awakening of subject consciousness in Renaissance and prepares for the publication of the1616Folio as a milestone and model in British literary history. The1616Folio ushers in the passage of the first copyright law "The Statute of Anne" in1710.
To sum up, this dissertation relies on contemporary cultural theories and such methods as close reading and anecdotalism to investigate a cultural phenomenon. It involves how the best members of a culture reflect and maintain some fundamental ideological categories, and ultimately change them and their ideological connotations. This is what New Historicists call a two-way interactive construction process between the author and the text. In such a process, the artist actively promotes new concepts and creates new things while conforming to the current discourse and conspiring with the mainstream discourse. It is, in essence, the manifestation of man's subjectivity.
引文
① 更多参见T. E. Lockwood.Ben Jonson in the Romantic Age. (Oxford:Oxford University Press, 2005).
① 本译文选自何其莘,《英国戏剧史》。南京：译林出版社,1999年。第127-128页。
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Harp, Richard and Stanley Stewart, eds. The Cambridge Companion to Ben Jonson. Cambridge:Cambridge University Press,2000.
Heaton, Gabriel. Writing and Reading Royal Entertainments:From George Gascoigne to Ben Jonson. Oxford:Oxford University Press,2010.
Helgerson, Richard. Self-Crowned Laureates:Spenser, Jonson, Milton, and Literary System. Berkeley, Los Angeles and London:University of California Press,1983.
Hirschfeld, Heather Anne. "Early Modern Collaboration and Theories of Authorship." PMLA 116.3 (2001):609-622.
---. Joint Enterprises:Collaborative Drama and the Institutionalization of the English Renaissance Theater. Amherst and Boston:University of Massachusetts Press, 2004.
Hunt, Celia and Fiona Sampson. Writing:Self and Reflexivity. Hampshire and New York: Palgrave Macmillan,2006.
Jonson, Ben. Ben Jonson. llvols. Ed. C. H. Herford, Percy and Evelyn Simpson, eds. Oxford:At Clarendon Press,1925-1952.
---. Ben Jonson:The Complete Masques. Ed. Stephen Orgel. New Haven and London: Yale University Press,1969.
---. Introduction. Ben Jonson's Literary Criticism. Ed. James D. Redwine, Jr. Lincoln: University of Nebraska Press,1970. xi-lvii.
---. Introduction. Ben Jonson:The Complete Masques. Ed. Stephen Orgel. New Haven and London:Yale University Press,1969.1-39.
Lamb, Mary Ellen. The Popular Culture of Shakespeare, Spenser and Jonson. New York:Routledge, Taylor & Francis Group,2006.
Lemly, John. "Masks and Self-Portraits in Jonson's Late Poetry." ELH 44.2 (1977): 248-266.
Limon, Jerzy. The Masque of Stuart Culture. Newark:University of Delaware Press; London and Toronto:Associated University Presses,1990.
Lindley, David. Introduction. The Court Masque. Manchester:Manchester University Press,1984. Ed. Lindley.1-15.
---. Introduction. The Court Masque:Jacobean and Caroline Entertainments 1605-1640. Oxford:Clarendon Press,1995. ix-xvii.
Lockwood, T. E. Ben Jonson in the Romantic Age. Oxford:Oxford University Press, 2005.
Loewenstein, Joseph. Ben Jonson and Possessive Authorship. Cambridge:Cambridge University Press,2002.
---.'Printing and "The Multitudinous Presse":The Contentious Texts of Jonson's Masques.'Brady and Herendeen 168-191.
---. The Author's Due:Printing and the Prehistory of Copyright. Chicago and London: The University of Chicago Press,2002.
Marcus, Leah. S. "Jonson and the Court." Harp and Stewart 30-42.
---. "Present Occasions and the Shaping of Ben Jonson's Masques." ELH 45.2 (1978): 201-225.
---. The Politics of Mirth. Chicago and London:The University of Chicago Press,1986.
Mardock, James D. Our Scene is London:Ben Jonson and the Space of the Author. New York, London:Routledge Taylor & Francis Group,2008.
Maus, Katharine Eisaman. Ben Jonson and the Roman Frame of Mind. Princeton, New Jersey:Princeton University Press,1984.
McCanles, Michael. Jonsonian Discrimination:The Humanist Poet and the Praise of True Nobility. Toronto, Buffalo, London:University of Toronto Press,1992.
Mcdonald, Russ. "Jonson and Shakespeare and the Rhythms of Verse." Harp and Stewart 103-118.
McPherson, David. "Ben Jonson's Library and Marginalia:An Annotated Catalogue." Studies in Philology 71.5,1974.
Meagher, John C. Method and Meaning in Jonson's Masques. London:University of Notre Dame Press,1966.
Miles, Rosalind. Ben Jonson:His Life and Work. London and New York:Routledge & Kegan Paul,1986.
Mulryan, John. "Jonson's Classicism." Harp and Stewart 163-187.
Murray, Timothy. "From Foul Sheets to Legitimate Model:Antitheatre, Text, Ben Jonson." New Literary History 14.3 (1983):641-664.
Newton, Richard C. "Jonson and the (Re)-Invention of the Book." Classic and Cavalier:Essays on Jonson and the Sons of Ben. Ed. Claude J. Summers and Ted-Larry Pebworth. Pittsburgh:University of Pittsburgh Press,1982.31-55.
Orgel, Stephen and Roy Strong. Inigo Jones:The Theatre of the Stuart Court.2 vols. Berkeley and Los Angeles:University of California Press,1973.
Orgel, Stephen. The Illusion of Power:Political Theater in the English Renaissance. Berkeley, Los Angeles, Berkeley:University of California Press,1975.
---. The Jonsonian Masque. Cambridge:Harvard University Press,1965.
Parry, Graham. "The Politics of the Jacobean Masque." Theatre and Government under the Early Stuarts. Ed. J. R. Mulryne and Margaret Shewing. Cambridge:CUP, 1993.87-117.
Paul. D. Cannan. "Ben Jonson, Authorship, and the Rhetoric of English Dramatic Prefatory Criticism." Studies in Philology 99.2 (2002):178-201.
Peters, Julie Stone. Theatre of the Book,1480-1880:Print, Text and Performance in Europe. New York:Oxford University Press Inc.,2000.
Preminger, Alex and T. V. Brogan, eds. "Lyric." New Princeton Encyclopedia of Poetry and Poetics.1993 ed.
Puttenham, George. The Art of English Poesy. A Critical Edition. Ed. Frank Whigham and Wayne A. Rebhorn. Ithaca and London:Cornell University Press,2007.
Richter, David H., ed. The Critical Tradition:Classic Texts and Contemporary Trends. Boston:Bedford Books,1989.
Riggs, David. Ben Jonson:A Life. Cambridge, Massachusetts, London:Harvard University Press,1989.
Ross, Thomas W. "Expenses for Ben Jonson's The Masque of Beauty." The Bulletin of the Rocky Mountain Modern Language Association 23.4 (1969):169-173.
Rutledge, Douglas F. Ceremony and Text in the Renaissance. Newark:University of Delaware Press; London:Associated University Presses,1996.
Saunders, J. W. "The Stigma of Print:A Note on the Social Bases of Tudor Poetry." Essays in Criticism 1 (1951):139-164.
Scott, Alison V. "The Jonsonian Masque and the Politics of Decorum." Ben Jonson and the Politics of Genre. Ed. A. D. Cousins and Allson V. Scott. Cambridge: Cambridge University Press,2009.43-72.
---. "Jonson's Masque Markets and problems of Literary Ownership." Studies in English Literature 1500-1900 47.2(2007):451-471.
---. Selfish Gifts:The Politics of Exchange and English Courtly Literature, 1580-1628. Madison, Teaneck:Fairleigh Dickinson University Press,2006.
Shohet, Lauren. "Interpreting The Irish Masque at Court and in Print." Journal for Early Modern Cultural Studies 1.2 (2001):42-65.
---. Introduction. Reading Masques:The English Masque and Public Culture in the Seventeenth Century. Oxford:Oxford University Press,2010.1-37.
---. "The Masque as Book." Reading and Literacy in Middle Ages and Renaissance. Ed. Ian Frederick Moulton. Turnhout, Belgium:Brepols Publishers n.v.,2004 143-168.
Stallybrass, Peter and Allon White. "Smithfield and Authorship:Ben Jonson." New Historicism and Renaissance Drama. Ed. Richard Wilson and Richard Dutton. London and New York:Longman,1992.207-218.
Strong, Roy. Henry, Prince of Wales and England's Lost Renaissance. Thames and Hudson:1986.
Strout, Nathaniel. "Jonson's Jacobean Masques and the Moral Imagination." Studies in English Literature 1500-1900 27.2 (1987):233-247.
Wall, Wendy, ed. The Imprint of Gender:Authorship and Publication in the English Renaissance. Ithaca and London:Cornell University Press,1993.
Welsford, Enid. The Court Masque:A Study in the Relationship between Poetry and the Revels. New York:Russell & Russell, Inc.,1962.
爱德华·W·萨义德,《知识分子论》,单德兴译。北京：三联书店,2007。
安德鲁·本尼特,《作者理论和文学问题》,汪正龙译。《文艺理论研究》,1(2010)：53-61。
柏拉图,《柏拉图全集》(4卷本),王晓朝译。北京：人民出版社,2007。
刁克利,《西方作家理论研究》。北京：外语教学与研究出版社,2005。
红旗杂志编辑部文艺组,《文学主体性论争集》。北京：红旗出版社,1986。
胡家峦,《历史的星空：文艺复兴时期英国诗歌与西方传统宇宙论》。北京：北京大学出版社,2001。
克利福德·格尔兹,《尼加拉：十九世纪巴厘剧场国家》,赵炳祥译。上海：上海人民出版社,1980。
J.A.伯罗,《中世纪作家作品：中古英语文学及其背景(1100-1500)》,沈弘译。北京：背景大学出版社,2007。
马塞尔·莫斯,《论馈赠：传统社会的交换形式及功能》,卢汇译。北京：中央民族大学出版社,2002。
米哈伊尔·米哈伊洛维奇·巴赫金,《巴赫金全集》(6卷本),晓河、贾泽林、张杰、樊锦鑫等译。石家庄：河北教育出版社,1998。
尼古拉斯·米尔佐夫,《视觉文化导论》,倪伟译。南京：凤凰传媒集团,江苏人民出版社,2006。
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陶东风、和磊,《文化研究》。桂林：广西师范大学出版社,2006。
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汪民安,《文化研究关键词》。南京：凤凰传媒集团、江苏人民出版社,2007。
王岳川,“新历史主义的文化诗学”,《北京大学学报》,3(1997)：23-31。
W C.布思,《小说修辞学》,华明、胡苏晓、周宪译。北京：北京大学出版社,1986。
伍蠡甫,《西方文论选》(上下卷)上海：上海译文出版社,1982。
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《现代汉语辞海》编委会,《现代汉语辞海》(卷4)。北京：光明日报出版社,2003。
肖明翰,“《声誉之宫》——乔叟对诗歌创作的探索”,《外国文学研究》,2(2002)：30-35。
雅各布·布克哈特,《意大利文艺复兴时期的文化》,何新译。北京：商务印书馆,2010。
亚里士多德,《亚里士多德全集》(8卷本),苗力田主编。北京：中国人民大学出版社,2011。
杨冬,《西方文学批评史》。长春：吉林教育出版社,1998。
阎国忠,《基督教与美学》。辽宁人民出版社,1989。
约瑟夫·坎贝尔,《千面英雄》,张承谟译。上海：上海文艺出版社,2000。
张京媛,《新历史主义与文学批评》。北京：北京大学出版社,1993。
章安祺,《西方文艺史精读文献》。北京：中国人民大学出版社,2010。
赵一凡、张中载、李德恩,《西方文论关键词》。北京：外语教学与研究出版社,2006。
朱元立,李钧,《二十世纪西方文论选》(上下卷)。北京：高等教育出版社,2002。
① 本译文选自何其莘,《英国戏剧史》。南京：译林出版社,1999年。第127-128页。
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---. Shakespearean Negotiations:The Circulation of Social Energy in Renaissance England. Oxford:Clarendon Press,1988.
Greene, Thomas M. "Ben Jonson and the Centered Self." Studies in English Literature, 1500-1900 10.2 (1970):325-348.
Greg, W. W. "Jonson's Masques—Points of Editorial Principle and Practice." The Review of English Studies 18.70 (1942):144-166.
Harp, Richard and Stanley Stewart, eds. The Cambridge Companion to Ben Jonson. Cambridge:Cambridge University Press,2000.
Heaton, Gabriel. Writing and Reading Royal Entertainments:From George Gascoigne to Ben Jonson. Oxford:Oxford University Press,2010.
Helgerson, Richard. Self-Crowned Laureates:Spenser, Jonson, Milton, and Literary System. Berkeley, Los Angeles and London:University of California Press,1983.
Hirschfeld, Heather Anne. "Early Modern Collaboration and Theories of Authorship." PMLA 116.3 (2001):609-622.
---. Joint Enterprises:Collaborative Drama and the Institutionalization of the English Renaissance Theater. Amherst and Boston:University of Massachusetts Press, 2004.
Hunt, Celia and Fiona Sampson. Writing:Self and Reflexivity. Hampshire and New York: Palgrave Macmillan,2006.
Jonson, Ben. Ben Jonson. llvols. Ed. C. H. Herford, Percy and Evelyn Simpson, eds. Oxford:At Clarendon Press,1925-1952.
---. Ben Jonson:The Complete Masques. Ed. Stephen Orgel. New Haven and London: Yale University Press,1969.
---. Introduction. Ben Jonson's Literary Criticism. Ed. James D. Redwine, Jr. Lincoln: University of Nebraska Press,1970. xi-lvii.
---. Introduction. Ben Jonson:The Complete Masques. Ed. Stephen Orgel. New Haven and London:Yale University Press,1969.1-39.
Lamb, Mary Ellen. The Popular Culture of Shakespeare, Spenser and Jonson. New York:Routledge, Taylor & Francis Group,2006.
Lemly, John. "Masks and Self-Portraits in Jonson's Late Poetry." ELH 44.2 (1977): 248-266.
Limon, Jerzy. The Masque of Stuart Culture. Newark:University of Delaware Press; London and Toronto:Associated University Presses,1990.
Lindley, David. Introduction. The Court Masque. Manchester:Manchester University Press,1984. Ed. Lindley.1-15.
---. Introduction. The Court Masque:Jacobean and Caroline Entertainments 1605-1640. Oxford:Clarendon Press,1995. ix-xvii.
Lockwood, T. E. Ben Jonson in the Romantic Age. Oxford:Oxford University Press, 2005.
Loewenstein, Joseph. Ben Jonson and Possessive Authorship. Cambridge:Cambridge University Press,2002.
---.'Printing and "The Multitudinous Presse":The Contentious Texts of Jonson's Masques.'Brady and Herendeen 168-191.
---. The Author's Due:Printing and the Prehistory of Copyright. Chicago and London: The University of Chicago Press,2002.
Marcus, Leah. S. "Jonson and the Court." Harp and Stewart 30-42.
---. "Present Occasions and the Shaping of Ben Jonson's Masques." ELH 45.2 (1978): 201-225.
---. The Politics of Mirth. Chicago and London:The University of Chicago Press,1986.
Mardock, James D. Our Scene is London:Ben Jonson and the Space of the Author. New York, London:Routledge Taylor & Francis Group,2008.
Maus, Katharine Eisaman. Ben Jonson and the Roman Frame of Mind. Princeton, New Jersey:Princeton University Press,1984.
McCanles, Michael. Jonsonian Discrimination:The Humanist Poet and the Praise of True Nobility. Toronto, Buffalo, London:University of Toronto Press,1992.
Mcdonald, Russ. "Jonson and Shakespeare and the Rhythms of Verse." Harp and Stewart 103-118.
McPherson, David. "Ben Jonson's Library and Marginalia:An Annotated Catalogue." Studies in Philology 71.5,1974.
Meagher, John C. Method and Meaning in Jonson's Masques. London:University of Notre Dame Press,1966.
Miles, Rosalind. Ben Jonson:His Life and Work. London and New York:Routledge & Kegan Paul,1986.
Mulryan, John. "Jonson's Classicism." Harp and Stewart 163-187.
Murray, Timothy. "From Foul Sheets to Legitimate Model:Antitheatre, Text, Ben Jonson." New Literary History 14.3 (1983):641-664.
Newton, Richard C. "Jonson and the (Re)-Invention of the Book." Classic and Cavalier:Essays on Jonson and the Sons of Ben. Ed. Claude J. Summers and Ted-Larry Pebworth. Pittsburgh:University of Pittsburgh Press,1982.31-55.
Orgel, Stephen and Roy Strong. Inigo Jones:The Theatre of the Stuart Court.2 vols. Berkeley and Los Angeles:University of California Press,1973.
Orgel, Stephen. The Illusion of Power:Political Theater in the English Renaissance. Berkeley, Los Angeles, Berkeley:University of California Press,1975.
---. The Jonsonian Masque. Cambridge:Harvard University Press,1965.
Parry, Graham. "The Politics of the Jacobean Masque." Theatre and Government under the Early Stuarts. Ed. J. R. Mulryne and Margaret Shewing. Cambridge:CUP, 1993.87-117.
Paul. D. Cannan. "Ben Jonson, Authorship, and the Rhetoric of English Dramatic Prefatory Criticism." Studies in Philology 99.2 (2002):178-201.
Peters, Julie Stone. Theatre of the Book,1480-1880:Print, Text and Performance in Europe. New York:Oxford University Press Inc.,2000.
Preminger, Alex and T. V. Brogan, eds. "Lyric." New Princeton Encyclopedia of Poetry and Poetics.1993 ed.
Puttenham, George. The Art of English Poesy. A Critical Edition. Ed. Frank Whigham and Wayne A. Rebhorn. Ithaca and London:Cornell University Press,2007.
Richter, David H., ed. The Critical Tradition:Classic Texts and Contemporary Trends. Boston:Bedford Books,1989.
Riggs, David. Ben Jonson:A Life. Cambridge, Massachusetts, London:Harvard University Press,1989.
Ross, Thomas W. "Expenses for Ben Jonson's The Masque of Beauty." The Bulletin of the Rocky Mountain Modern Language Association 23.4 (1969):169-173.
Rutledge, Douglas F. Ceremony and Text in the Renaissance. Newark:University of Delaware Press; London:Associated University Presses,1996.
Saunders, J. W. "The Stigma of Print:A Note on the Social Bases of Tudor Poetry." Essays in Criticism 1 (1951):139-164.
Scott, Alison V. "The Jonsonian Masque and the Politics of Decorum." Ben Jonson and the Politics of Genre. Ed. A. D. Cousins and Allson V. Scott. Cambridge: Cambridge University Press,2009.43-72.
---. "Jonson's Masque Markets and problems of Literary Ownership." Studies in English Literature 1500-1900 47.2(2007):451-471.
---. Selfish Gifts:The Politics of Exchange and English Courtly Literature, 1580-1628. Madison, Teaneck:Fairleigh Dickinson University Press,2006.
Shohet, Lauren. "Interpreting The Irish Masque at Court and in Print." Journal for Early Modern Cultural Studies 1.2 (2001):42-65.
---. Introduction. Reading Masques:The English Masque and Public Culture in the Seventeenth Century. Oxford:Oxford University Press,2010.1-37.
---. "The Masque as Book." Reading and Literacy in Middle Ages and Renaissance. Ed. Ian Frederick Moulton. Turnhout, Belgium:Brepols Publishers n.v.,2004 143-168.
Stallybrass, Peter and Allon White. "Smithfield and Authorship:Ben Jonson." New Historicism and Renaissance Drama. Ed. Richard Wilson and Richard Dutton. London and New York:Longman,1992.207-218.
Strong, Roy. Henry, Prince of Wales and England's Lost Renaissance. Thames and Hudson:1986.
Strout, Nathaniel. "Jonson's Jacobean Masques and the Moral Imagination." Studies in English Literature 1500-1900 27.2 (1987):233-247.
Wall, Wendy, ed. The Imprint of Gender:Authorship and Publication in the English Renaissance. Ithaca and London:Cornell University Press,1993.
Welsford, Enid. The Court Masque:A Study in the Relationship between Poetry and the Revels. New York:Russell & Russell, Inc.,1962.
爱德华·W·萨义德,《知识分子论》,单德兴译。北京：三联书店,2007。
安德鲁·本尼特,《作者理论和文学问题》,汪正龙译。《文艺理论研究》,1(2010)：53-61。
柏拉图,《柏拉图全集》(4卷本),王晓朝译。北京：人民出版社,2007。
刁克利,《西方作家理论研究》。北京：外语教学与研究出版社,2005。
红旗杂志编辑部文艺组,《文学主体性论争集》。北京：红旗出版社,1986。
胡家峦,《历史的星空：文艺复兴时期英国诗歌与西方传统宇宙论》。北京：北京大学出版社,2001。
克利福德·格尔兹,《尼加拉：十九世纪巴厘剧场国家》,赵炳祥译。上海：上海人民出版社,1980。
J.A.伯罗,《中世纪作家作品：中古英语文学及其背景(1100-1500)》,沈弘译。北京：背景大学出版社,2007。
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