Abstract
Ben Jonson’s 1610 city comedy The Alchemist uses the motif of fairy patronage in one of its subplots, effectively ridiculing fairy belief alongside religious factionalism, greed, wrathfulness, and various other vices. Jonson’s use of the changeling or fairy midwife motif and his awareness of the early modern demonization of fairies have already been noted in criticism, as has his indebtedness to fairy cozenage pamphlets circulating in the period. This article investigates the extent of Jonson’s direct inspiration from fairy lore, pointing to an aesthetics of liminality at work throughout the play. The argument outlines Jonson’s creative and informed use of folkloric motifs commonly associated with fairies such as time-warp, fairy taboo, and the Wild Hunt.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
