Catiline His Conspiracy (1611) is a Jacobean tragedy written by Ben Jonson. It is one of the two Roman tragedies that Jonson hoped would cement his dramatic achievement and reputation, the other being Sejanus His Fall (1603).
Jonson, a devout Catholic convert, wrote Catiline in the historical context of the Gunpowder Plot and surrounding events. Written when he was already under suspicion of "popperie and treason", the play explores the relationship of law to prerogative and treason to tyranny. [1]
Jonson was not the first playwright of his era to dramatize the story of Catiline. Stephen Gosson in his "School of Abuse" (1579) praised a play called Catiline's Conspiracies, which was acted by Leicester's Men at The Theatre sometime between 1576 and 1579. A Catiline (either Gosson's or another play, author unknown) was acted at the home of William Cecil, 1st Lord Burghley on 16 January 1588. In 1598 or 1599, the Diary of Philip Henslowe records an advance payment of 5 shillings to Henry Chettle, for a play titled Catiline's Conspiracy—though Chettle appears never to have completed writing it. [2]
The play was first published in quarto in 1611 by the stationer Walter Burre, prefaced with commendatory verses by Francis Beaumont, John Fletcher, and Nathan Field. It was reprinted the 1616 folio of Jonson's works. The folio text states that Catiline was first performed in 1611 by the King's Men, and lists the cast as: Richard Burbage, John Heminges, Alexander Cooke, Henry Condell, John Lowin, John Underwood, William Ostler, Nicholas Tooley, Richard Robinson, and William Ecclestone.
As its title indicates, the play recounts the story of Catiline, the Roman politician and conspirator of the 1st century B.C. Besides Catiline appear other historical figures such as Julius Caesar, Sempronia, Fulvia, Crassus, Cicero, and Aurelia Orestilla. [3]
That the play was not a popular success is indicated by Jonson's reproachful preface to the published edition. Thomas Rymer praised the play's subject matter but condemned Jonson's violations of decorum. The Guardian states that: "Although booed off stage at its 1611 premiere, it became a great favourite in its day, but has not been staged since the 17th century". [4]
John Dryden introduced the traditional prescriptive rule against preposition stranding in English in criticising a phrase from this play: "The maws, and dens of beasts could not receive / the bodies that those souls were frighted from." [5]
In 2011, the play was edited and translated for the first time in Italian. [6]
William Shakespeare was an English playwright, poet and actor. He is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His extant works, including collaborations, consist of some 39 plays, 154 sonnets, three long narrative poems and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright. Shakespeare remains arguably the most influential writer in the English language, and his works continue to be studied and reinterpreted.
The earliest texts of William Shakespeare's works were published during the 16th and 17th centuries in quarto or folio format. Folios are large, tall volumes; quartos are smaller, roughly half the size. The publications of the latter are usually abbreviated to Q1, Q2, etc., where the letter stands for "quarto" and the number for the first, second, or third edition published.
Benjamin Jonson was an English playwright and poet. Jonson's artistry exerted a lasting influence on English poetry and stage comedy. He popularised the comedy of humours; he is best known for the satirical plays Every Man in His Humour (1598), Volpone, or The Fox, The Alchemist (1610) and Bartholomew Fair (1614) and for his lyric and epigrammatic poetry. He is regarded as "the second most important English dramatist, after William Shakespeare, during the reign of James I."
This article contains information about the literary events and publications of 1611.
Henry Chettle was an English dramatist and miscellaneous writer of the Elizabethan era, best known for his pamphleteering.
Robert Wilson, was an Elizabethan dramatist who worked primarily in the 1580s and 1590s. He is also believed to have been an actor who specialized in clown roles.
Sejanus His Fall, a 1603 play by Ben Jonson, is a tragedy about Lucius Aelius Sejanus, the favourite of the Roman emperor Tiberius.
John Fletcher was an English playwright. Following William Shakespeare as house playwright for the King's Men, he was among the most prolific and influential dramatists of his day; during his lifetime and in the Stuart Restoration, his fame rivalled Shakespeare's. Fletcher collaborated in writing plays, chiefly with Francis Beaumont or Philip Massinger, but also with Shakespeare and others.
Every Man in His Humour is a 1598 play by the English playwright Ben Jonson. The play belongs to the subgenre of "humours comedy", in which each major character is dominated by an over-riding humour or obsession.
John Lowin was an English actor.
Alexander Cooke was an actor in the King's Men and the Lord Chamberlain's Men, the acting companies of William Shakespeare, John Heminges and Richard Burbage.
Nicholas Tooley was a Renaissance actor in the King's Men, the acting company of William Shakespeare.
Richard Robinson was an actor in English Renaissance theatre and a member of Shakespeare's company the King's Men.
William Ecclestone or Egglestone was an actor in English Renaissance theatre, a member of Shakespeare's company the King's Men.
William Ostler was an actor in English Renaissance theatre, a member of the King's Men, the company of William Shakespeare.
The Conspiracy and Tragedy of Charles, Duke of Byron, Marshall of France is a Jacobean tragedy by George Chapman, a two-part play or double play first performed and published in 1608. It tells the story of Charles de Gontaut, duc de Biron, executed for treason in 1602.
Ben Jonson collected his plays and other writings into a book he titled The Workes of Benjamin Jonson. In 1616 it was printed in London in the form of a folio. Second and third editions of his works were published posthumously in 1640 and 1692.
Robert Allot was a London bookseller and publisher of the early Caroline era; his shop was at the sign of the black bear in St. Paul's Churchyard. Though he was in business for a relatively short time – the decade from 1625 to 1635 – Allot had significant connections with the dramatic canons of the two greatest figures of English Renaissance theatre, William Shakespeare and Ben Jonson.
George Eld was a London printer of the Jacobean era, who produced important works of English Renaissance drama and literature, including key texts by William Shakespeare, Ben Jonson, Christopher Marlowe, and Thomas Middleton.
John Underwood was an early 17th-century actor, a member of the King's Men, the theatrics company of William Shakespeare.