Ben Jonson, one of the leading figures of English Renaissance drama, holds a significant place in literary history not just for his mastery of satire but also for his unparalleled ability to portray human nature. His play, Every Man in His Humour, first performed in 1598, stands as one of the cornerstones of his career and an emblematic example of the comedic and satirical potential of Renaissance drama. It not only reflects the nuances of human behavior but also dissects societal attitudes and individual motivations with sharp, witty dialogue. Through a kaleidoscope of characters, Jonson explores themes of identity, pretension, and the folly of human nature.
This article will delve deeply into Every Man in His Humour through a summary of its plot, an analysis of its major characters, and a breakdown of its central themes. Moreover, it will explore Jonson’s unique approach to comedy and the enduring relevance of his observations on society.
Summary of Every Man in His Humour
Set in contemporary London, Every Man in His Humour revolves around the eccentric and often ridiculous behavior of its characters, each representing a specific ‘humour’—a dominant personal trait or temperament based on the Elizabethan understanding of personality. The plot follows the entangled lives of various figures, their schemes, deceptions, and pretensions, all of which are eventually revealed in comedic and sometimes humiliating ways.
The central figure, Old Knowell, is a wealthy gentleman concerned about the behavior of his son, Edward Knowell. Edward, instead of following a path deemed appropriate for a young gentleman, associates with a crowd of less savory characters. These include the braggart Captain Bobadil, the gullible Stephen, and the country bumpkin Downright. Old Knowell, suspicious of his son’s activities, intercepts a letter intended for him and decides to follow his son to discover the truth.
Meanwhile, Edward is plotting to win the favor of the wealthy merchant Kitely’s sister, Bridget. However, Kitely is consumed by jealousy and suspicion, convinced that his wife, Dame Kitely, is being unfaithful. His paranoia leads to a series of misunderstandings and ridiculous confrontations. Captain Bobadil, who presents himself as a masterful soldier and duelist, turns out to be nothing more than a cowardly braggart, and Stephen, a country simpleton, gets caught up in delusions of grandeur and sophistication.
As the plot unfolds, various characters’ schemes and pretensions are exposed. Kitely’s jealousy is revealed to be baseless, Edward’s romantic intentions are unveiled, and the blustering bravado of Captain Bobadil is exposed for the farce it is. In the end, the truth comes to light, and the characters are reconciled, their errors and follies forgiven in a typically comedic resolution.
Analysis of Characters
Every Man in His Humour is a character-driven play, and Jonson’s sharp satire comes to life through his vivid portrayal of different personalities. Each character embodies a specific ‘humour’ or exaggerated personal quality, which in turn drives their actions and decisions. This emphasis on humours is an essential part of Jonson’s comedic vision, and the interplay between these traits forms the crux of the play’s humor.
1. Old Knowell
Old Knowell, the concerned father, represents the stereotypical overprotective parent. His primary worry is that his son, Edward, might be squandering his youth on frivolous pursuits. Knowell’s humour is suspicion, which is embodied in his decision to spy on his son by intercepting a letter meant for him. Although his concerns are, in part, justified, his actions ultimately contribute to the chaos in the play. Knowell represents the theme of generational conflict—an older man’s inability to fully trust the younger generation, exacerbated by misunderstandings and miscommunication.
2. Edward Knowell
In contrast to his father, Edward is a young man eager to break free from parental control and explore life on his own terms. He mixes with unsavory characters not out of ignorance but in a bid to assert his independence. His love for Bridget, Kitely’s sister, is a subplot that adds a romantic dimension to his character. While Edward is less exaggerated in his temperament than other characters, his actions underscore the play’s exploration of youthful rebellion, autonomy, and the search for identity.
3. Kitely
Kitely is one of Jonson’s most fascinating creations. As a wealthy merchant consumed by jealousy, he suspects his wife, Dame Kitely, of being unfaithful. Kitely’s humour is jealousy—a suspicion so intense that it clouds his judgment and leads to absurd behavior. Jonson uses Kitely’s character to explore the destructive power of jealousy, not only as it affects the individual but also as it infects relationships and distorts reality.
4. Captain Bobadil
Captain Bobadil is a quintessential Jonsonian character—a braggart and a coward. Bobadil claims to be a master soldier and duelist, boasting of his military prowess and strategic brilliance. However, his cowardice is quickly revealed when he is challenged, making him a figure of ridicule. Bobadil’s humour is vanity, and through him, Jonson critiques the culture of false bravado and pretension. Bobadil’s exaggerated claims serve as a commentary on the absurdity of self-inflation and the gap between appearance and reality.
5. Stephen
Stephen, Edward Knowell’s cousin, is a country simpleton whose main preoccupation is with appearing sophisticated. He tries to adopt the mannerisms of the urban elite but only succeeds in making himself look foolish. Stephen’s humour is gullibility, and his delusions of grandeur highlight the theme of social pretension. Jonson uses Stephen to satirize those who attempt to imitate others without understanding the underlying values or customs, portraying him as a figure of comic ignorance.
6. Dame Kitely
Dame Kitely is Kitely’s wife, a woman of intelligence and integrity. Despite her husband’s baseless suspicions, she remains loyal and honest. Dame Kitely’s character provides a counterpoint to Kitely’s jealousy, embodying reason and clarity amidst the confusion and chaos created by her husband. Her role underscores Jonson’s critique of male-dominated perceptions of women and marital relationships, as she emerges as one of the more rational and steady figures in the play.
Themes in Every Man in His Humour
Jonson’s play tackles a wide array of themes that are relevant not only to his time but to human nature more broadly. Through the interplay of humour-driven characters, he exposes the follies and pretensions of human society.
1. The Humours and Human Nature
The central concept of the play is the Elizabethan theory of humours, which posits that human behavior is governed by bodily fluids—blood, phlegm, yellow bile, and black bile. When these humours are out of balance, individuals display exaggerated personality traits. Jonson uses this framework to create characters who are dominated by a single humour, whether it be jealousy, vanity, or suspicion. Through this lens, Jonson critiques the absurdities of human behavior, showing how irrational and extreme our actions can become when we are ruled by a dominant trait.
2. Social Pretension
One of Jonson’s primary targets is social pretension—the desire to appear more cultured, sophisticated, or capable than one truly is. Characters like Captain Bobadil and Stephen embody this theme in their exaggerated attempts to project false images of themselves. Bobadil’s inflated tales of military exploits and Stephen’s desire to adopt urban fashions both reveal the absurdity of trying to conform to social ideals without truly understanding them. Jonson mocks the superficiality of such pretensions, showing how easily they can be exposed and ridiculed.
3. Jealousy and Paranoia
Kitely’s consuming jealousy drives much of the conflict in Every Man in His Humour. His baseless suspicions about his wife’s fidelity cause him to act irrationally, creating chaos not only in his own life but in the lives of those around him. Jonson uses Kitely’s character to explore the destructive power of jealousy, a theme that recurs in many of his works. Jealousy blinds individuals to the truth and distorts their perceptions of reality, leading to misunderstanding and conflict.
4. Generational Conflict
The tension between Old Knowell and his son Edward is a reflection of a broader theme of generational conflict. Old Knowell’s suspicion and concern for his son’s welfare are rooted in a mistrust of youth and the changes that come with growing up. This theme resonates with the anxieties of Jonson’s time, as the Renaissance saw a shift in values and attitudes between generations. The younger characters in the play, like Edward, seek autonomy and freedom, while the older characters, like Old Knowell, struggle to understand and control them.
5. Deception and Self-Deception
Throughout the play, characters engage in various forms of deception—whether it’s Edward disguising his intentions, Captain Bobadil lying about his prowess, or Kitely imagining infidelity where there is none. Jonson explores both deception and self-deception as central to human folly. The characters’ schemes and falsehoods inevitably unravel, exposing their true natures. This theme ties into Jonson’s larger critique of pretension, as he shows how easily individuals deceive themselves and others in pursuit of their desires.
Ben Jonson’s Approach to Comedy
Jonson’s comedy is distinct from that of his contemporaries, particularly William Shakespeare. While Shakespeare often blended comedic elements with romance and dramatic tension, Jonson’s comedy is more satirical and moralistic. In Every Man in His Humour, Jonson is less concerned with romantic entanglements and more focused on exposing human folly and vice. His characters are exaggerated, almost to the point of caricature, yet they remain rooted in recognizable human behavior.
The play’s humor stems largely from the characters’ self-delusions and the disparity between how they perceive themselves and how they are seen by others. Jonson delights in puncturing the inflated egos of his characters, exposing their pretensions and vanities for the audience’s amusement. At the same time, his satire carries an implicit moral message: those who are ruled by their humours—whether jealousy, vanity, or suspicion—are bound to make fools of themselves.
Jonson’s use of language is another hallmark of his comedic style. His dialogue is sharp, witty, and often biting. Characters like Captain Bobadil and Stephen speak in inflated, pretentious language that reveals their foolishness, while more grounded characters like Old Knowell and Downright speak in plainer, more direct terms. This contrast in language reflects the social and intellectual pretensions that Jonson satirizes throughout the play.
Conclusion
Every Man in His Humour remains one of Ben Jonson’s most enduring works, a masterclass in character-driven comedy and social satire. Through its vivid portrayal of human behavior, Jonson exposes the absurdities of social pretension, the folly of jealousy, and the pitfalls of self-deception. His characters, each dominated by a single humour, serve as exaggerated yet recognizable figures, embodying the traits and tendencies that lead individuals into comedic misadventure.
The play’s themes—whether the exploration of human nature through the lens of the humours, the critique of social pretension, or the examination of jealousy and paranoia—continue to resonate with modern audiences. In its humor and satire, Every Man in His Humour holds up a mirror to society, inviting us to laugh at the characters’ folly even as we recognize elements of ourselves in their behavior. Through this timeless work, Jonson solidifies his place as one of the great satirists of English literature, and his sharp observations on human nature remain as relevant today as they were in the Renaissance.
