Jonson as a Creator of Real and Convincing Characters; an Analysis of The Alchemist
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Electronic Research Journal of Behavioural Sciences, Volume 4 (2021)
ISSN: 2652-7782. http://erjbehaviouralsciences.com/
Jonson as a Creator of Real and Convincing Characters; an
Analysis of The Alchemist
Muhammad Aurungzeb 1
Fellow of M. Phil, (English Literature) BBSUL, Karachi, Pakistan
Email: aurangzeb0017@gmail.com
Muhammad Rustam
Bachelor of Business Administration (Virtual University), Karachi, Pakistan
Email: rustam_5656@gmail.com
Abstract:
The aim of this paper is to analyze Jonson’s ability to create characters that look real and
convincing. The characters of The Alchemist are therefore analyzed in detail with respect to
being the caricatures, characteristics, their nature, their comparison with the characters of
Shakespeare, as conspirators, and other features they display. The paper further analyses the
governing vice of the characters in The Alchemist which is very much the same, but also
highlights the variety in the characterization. Jonson casts his net over society widely enough to
include a nobleman, a countryman, a lawyer’s clerk, two Puritans, a tobacconist, a butler, a
respectable householder, and a gamester. Their faults include greed and lust, excess, triviality,
thick-headedness, false ambition, credulity, feeble submissiveness, hypocrisy, double-think,
extortion, and mere silliness. Thus the play offers a rich collection of satirical portraits, depicting
at the same time a whole society, ruthlessly acquisitive. The paper concludes that as Jonson’s
comic characterization remains among the greatest achievements of the English drama, because
of its clearness, its richness of humor, and its dramatic veracity, he is pre-eminent in that type of
comedy in which everything else is subordinated to the dramatic unfolding of character.
Keywords: Ben Jonson, Jonson’s characters, The Alchemist, etc.
Introduction:
Jonson’s wide and penetrating observation of manners, whether of the city or of court, is
one of his obvious merits, as is his ingenious and systematic construction of plots. But the great
excellence of both his tragedies and his comedies is their delineation of character. This is
conditioned less than in other Elizabethan dramatists by the story, but more by classical models
and rules. It is also conditioned by his method of making each person the illustration of one trait
or humor, and by his disposition to substitute description for drama, and satire for a fact, and to
exaggerate his satire into farce (Ahmed, 2021a).
Again, each person is set forth with a distinctness of detail which, while aiding
visualization, often distracts from the interest of a situation. Akin to this defect is Jonson’s over-
use of the long monologue after the fashion of the classical models, and his thoroughness which
refuses to let go person, speech, or situation until he or she is absolutely exhausted. Yet, in spite
of these limitations, Jonson’s comic characterization remains among the greatest achievements of
1
Corresponding author
49Electronic Research Journal of Behavioural Sciences, Volume 4 (2021)
ISSN: 2652-7782. http://erjbehaviouralsciences.com/
the English drama, because of its clearness, its richness of humor, and its dramatic veracity. He is
pre-eminent in that type of comedy in which everything else is subordinated to the dramatic
unfolding of character.
Each character, a representative of some oddity or fad:
The peculiarity of Jonson’s comic delineation of characters is indicated by the title Every
Man in his Humour. Jonson endowed each of his characters with some particular whim or
affectation, some ludicrous exaggeration of manner, speech, or dress; and he pushed forward this
single odd trait to such an extent that all others might be lost sight of.
In the above-named play, each of the characters has his particular humor, his prevailing
mood, or rather his oddity, mental habit, or fad. There is an old gentleman, Knowell, who is
excessively worried because his son is indulging in amorous adventures. It is the father’s humor
thus to make himself miserable. There is a merchant, Kitely; whose humor is jealousy and who
therefore feels over-suspicious of his beautiful wife’s conduct (Ahmed, 2021a). Two young and
foolish men of fashion exist only to be duped. Bobadilla is a braggart whose humor it is always
to talk of his military adventures and campaigns, all of which are, however, imaginary.
The same device was employed by Jonson in his two great comedies, Volpone and The
Alchemist. In Volpone, he studies not a foible or a whim, but a master passion, the passion of
greed. In The Alchemist most of the characters are again under the influence of avarice or greed
which therefore constitutes the humor of each one of them (Akhtar, 2019; Arnold, 1965; Ahmed,
2021b).
The difference between Jonson’s method and Shakespeare’s:
The fixed, narrow limits of Jonson’s characterization, as indicated above, were opposed
to the practice of contemporary dramatists who gave their characters full play, developing them
spaciously and endowing them with complexity and the faculty of growth. These other
dramatists made oddity the characteristic only of their secondary characters. It was only to
characters like pistol and Nym that Shakespeare gave humor. Jonson bestows humor on all his
characters and especially on the principal characters. Even where Shakespeare shows a character
under the influence of a master's passion he does so in a different way from Jonson’s.
Shakespeare studies the master passion of jealousy in his Othello, but he does so with
much more surprise, variety, and the free play of life than does Jonson in his study of the master
passion of greed in Volpone or in The Alchemist (Akhtar, 2019). Jonson has, as it were, a thesis
to illustrate. He exhibits one character after another as a logician presents the various parts of his
argument. In other words, he always, or nearly always, lets us see the machinery. However, what
he loses in spontaneity, he gains in intellectual unity and in the massiveness of purpose (Ahmed,
2021a).
Characters as caricatures:
Jonson was, moreover, deceiving himself when he thought that he had depicted real men
in his plays. He noticed only obvious individual peculiarities or the violent actions of exceptional
persons. He showed an almost total disregard of fundamental feelings common to mankind, and
his ignorance of love. He thus never got near to nature in the classical meaning of the word. To
find in his plays a character who is merely a man or a woman is almost impossible. In his later
50Electronic Research Journal of Behavioural Sciences, Volume 4 (2021)
ISSN: 2652-7782. http://erjbehaviouralsciences.com/
comedies, Jonson’s satirical attitude becomes stronger. Several characters in these plays are
caricatures (Ahmed, 2021a).
The portraits exaggerate the eccentricity and extravagance of the characters depicted.
Shakespeare’s characters are more complex and their motives are more varied so that they are
capable of surprising us. They are, in this sense, more like real people. Jonson’s characters, on
the other hand, are not portraits but caricatures. They are simplified and exaggerated, but just for
this reason they are clearly recognizable and alienated from our sympathy (Arnold, 1965). For
instance, we feel little sympathy for the characters in The Alchemist because we know from the
start that they are not human. The characters in this play are both super-human and sub-human.
They are sup-human in the extent and intensity of their passion, and they are sub-human in its
singleness and limitation, and in the absence of any redeeming qualities (Akhtar, 2019).
Every character in “The Alchemist,” possessed by avarice:
Almost all characters in The Alchemist are possessed by one and the same humor, which
is an obsessive desire for money, though individual characters like mammon have certain other
humor or interests also.
Dapper is a lawyer’s clerk wanting to be provided with a familiar or an attendant spirit
who would enable him to win money at horse-races, at card-parties, and at dice-parties. Dapper
would like to give up his own profession in order to become rich through gambling.
Drugger is a tobacconist who wants a prescription from the alchemist which would bring
him prosperity in his business, although at the same time he would like to marry the rich young
widow, Dame Pliant.
Mammon is simply obsessed by the thought of money and the grand style of life that
money would enable him to adopt. He grows eloquent in his description of the kind of life which
he would lead when the philosopher’s stone has been placed at his disposal by Subtle. He speaks
in a grandiose manner about the expensive foods which he would eat and which would be served
to him in gold plates studded with precious stones of various colors.
Mammon would not only like to become rich himself but would also like to make his
friends rich. He says to his friend Surly: “Be rich” (Arnold, 1965). He hopes to become as rich as
King Solomon with his gold mines was. Then there are the Anabaptists, Ananias, and
Tribulation, who too wish to acquire wealth through the philosopher’s stone which Subtle has
promised to provide to them.
The Anabaptists, claim to be holy men but, in order to become rich, they would not mind
accepting counterfeit dollars from Subtle, even though counterfeit dollars would be an illegal
currency. They even accept Subtle’s distinction between the “coining” of dollars and the
“casting” of dollars. Even Surly, who is otherwise a very honest kind of man, is tempted to marry
Dame Pliant because of her wealth which would make his fortune.
Lovewit, from whom we expected some show of integrity and honesty, proves equally
vulnerable when it comes to marrying a rich widow. He forgives his servant Jeremy for all the
crimes which the latter has committed because it is he 2 who arranges the marriage between the
widow and Lovewit.
Then there are the three conspirators----Subtle, Face and Dol. Their entire project has
been motivated by their desire for money. It is purely and wholly for financial gain that they set
2
Jeremy or Face
51Electronic Research Journal of Behavioural Sciences, Volume 4 (2021)
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up a laboratory in Lovewit’s house, giving out that an alchemist has started work upon the
production of the philosopher’s stone which can make its possessors fabulously rich (Arnold,
1965).
The dupes differentiated from one another:
Although greed is the master-passion that governs all these characters, yet Jonson has
differentiated them by attributing to them different ulterior aims. Mammon, for instance, would
like to use his money to gratify his unlimited sexual desire (Amir and Aurangzeb, 2020). He
would maintain a harem of mistresses and concubines and, with the strength derived from the
philosopher’s stone, he would be able to have sexual intercourse with fifty women in one night.
Furthermore, Mammon is distinguished from the other characters by his generosity of mind. He
would like to dispense the elixir as a medicine freely to those who are suffering from any
diseases. In fact, he would search various areas for those suffering from various and would cure
them with the elixir. He also speaks of establishing hospitals and other institutions of public
welfare. Thus in his case money is not an end in itself but a means to other ends. He is also
distinguished from the other characters by his falling in love with Dol he thinks to be the lord’s
sister, subject to fits of madness. He becomes poetic in her company and pays glowing
compliments to her beauty and charms, comparing her features and her countenance to those of
members of the highest families.
He is further distinguished from the other characters by the learned manner in which he
talks about the wonders in which the philosopher’s stone can work. He cites several classical
myths in support of his argument. According to him, all these myths are allegorical accounts of
the miracles which were worked by the philosopher’s stone.
The Anabaptists want money as a means to power. This is explained in detail by Subtle,
and they do not contradict him. Tribulation says that the Anabaptists can themselves become
“temporal”. In order to acquire power and prestige and in order to extend their influence over the
community, they do not mind availing the services of a man whom otherwise they do not like
and who seems to them to be a pagan.
Ananias feels quite allergic to Subtle, but tribulation overrules him, saying that
sometimes even wicked men can be made instruments to promote a holy cause. In Tribulation’s
view, the end justifies the means. Dapper wishes to become rich, but he too has certain ideas of
what he would do with his money. He cherishes the ideas of another kind of existence, that of a
gambler and haunter of ordinaries.3 He would like to become a dashing rake and a man about
town. It is not simply greed that persuades him to submit to being blindfolded, having his
pockets searched emptied by “fairies”, and then being stowed away in the toilet with a gag in his
mouth. He is a man carried away by the prospect of a new and more spacious life.
The ambitions of Drugger are even humbler to start with than those of Dapper. He simply
wants more customers at his tobacco-shop. He aims at ensuring a thriving trade, though a cure
for the worms which afflict him would also be welcome (Arnold, 1965). But within the same
day, his imagination moves to an ambition not previously entertained. Why should he not marry
his neighbor, the wealthy Dame Pliant, and so attain a life-style surpassing that of any mere
tobacconist, however successful?
3
that is, eating houses
52Electronic Research Journal of Behavioural Sciences, Volume 4 (2021)
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This pattern of cunningly enlarged aspiration, developed initially with Dapper and
Drugger, repeats itself with all except one of Subtle’s other customers (Amir and Aurangzeb,
2020).
The distinguishing features of the conspirators:
Subtle, Face and Dol are distinguished from the dupes by their skill, ingenuity, wit, and
freedom from illusion, though they too are driven by the same desire for wealth. They share also
the common view that the ends are important, not the means. They have a business agreement to
cheat outsiders, but this does not prevent them from cheating one another. Their position is self-
contradictory as Mammon’s idea that he can lead as sensual life as likes, so long as his agent,
Subtle, is pure in heart.
Alchemist required a man to lead a pious life, but Mammon, who is determined to lead a
life of sensuality and self-indulgence, defends his immoral desire on the plea that he can be pious
and holy by proxy. If the alchemist, Subtle, is leading a pious and holy life, it would not be
necessary for the customer Mammon to do the same. Mammon believes that a pure life can be
led on his behalf by the alchemist, Subtle. Of course, he does not know at this stage that Subtle is
a scoundrel.
The two chief conspirators, Subtle and Face, are also clearly differentiated from each
other. Subtle is the alchemist4, while Face is only his assistant. Subtle is the alchemist, while
Face is only “Lungs”. Subtle stays at home, conducting the alchemical experiment, while Face
roams abroad in order to rope in customers. Besides, Face servers as a propagandist for Subtle. It
would not look proper for Subtle to praise himself, and therefore Face performs the duty of
describing to the customers the wonders which Subtle can perform.
Again, it is Face who coaxes the customers like dapper and Drugger to offer money to
Subtle in order to get the best returns from him. It is Face who urges Drugger to bring a damask
suit for the alchemist. Eventually, Face shows himself to be much more smart than Subtle. Subtle
had decided to deprive Face of the latter’s share of the booty. But in the event, it is Face who
deprives both Subtle and Dol of their share. In fact, Face manipulates the whole situation in such
a way that Subtle and Dol have to flee from the house in the greatest possible hurry in order to
escape police action against them.
Kastril’s character, distinguishable from the other characters:
Kastril is clearly distinguishable from all the other characters. He is a rustic gentleman, a
gentleman who has newly come to London (Ahmed, 2021b). He is hardly one-and-twenty. He
has full control over his widowed sister. He is a man of some fifteen hundred pounds a year. He
has come to London in order to learn how to quarrel and how to live by his wits. Ultimately he
would go back to the country and die there.
This idiot from the countryside wants to be translated into a fashionable swaggerer and a
dangerous duelist. He has already heard some of the speeches of the angry boys in the city, and
he has been them smoking tobacco. In fact, he has already started smoking tobacco, and he
would now like to receive lessons in quarreling from Subtle. Although he is not governed by a
passion for money, he does desire status. The money he has already got, though not over-much.
4
Actually a bogus one
53Electronic Research Journal of Behavioural Sciences, Volume 4 (2021)
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But he is not crazy after money. All that he now aims at is sophistication and his sister’s
marriage to a Knight (Arnold, 1965).
The Characters of Surly and Lovewit:
Surly too is clearly distinguishable from the other characters. In the beginning, he is
described as a gamester, gamester, which perhaps implies that he is a gambler. However, we find
him to be a very sensible and rational kind of man. He is intelligent enough to believe in alchemy
or in the philosopher’s stone. He denies Subtle’s capacity to manufacture any such thing as the
elixir. He scoffs at Mammon’s claims and at Subtle’s pretensions.
He repudiates Subtle’s theory of alchemy. He then decides to uncover the fraudulent
activates of Subtle and his co-workers. To that end, he comes to Subtle’s establishment disguised
as a Spanish Don, pretending not to know English at all. He is given an opportunity to seduce
Dame Pliant, but he shows himself to be too respectable to do any such evil deed. He reveals his
real identity to Dame Pliant to whom he then proposes marriage. Eventually, even he is cheated
of his hope of marrying the widow (Amir and Ahmad, 2020a; 2020b).
We feel sorry for him because the one man who really deserved a reward has been
deprived of it. Surly is supplanted by Lovewit who shows himself to be as unscrupulous as the
conspirators themselves. Lovewit yields to the temptation of marrying a rich, young widow; and
he forgives Jeremy, the butler, in the bargain.
Variety in the characterization:
Although the governing vice of the characters in The Alchemist is very much the same,
the variety in the Characterization has to be recognized. Jonson casts his net over society widely
enough to include a nobleman, a countryman, a lawyer’s clerk, two Puritans, a tobacconist, a
butler, a respectable householder, and a gamester. Morally the scope is equally wide. Their faults
include greed and lust (Amir and Aurangzeb, 2020), excess, triviality, thick-headedness, false
ambition, credulity, feeble submissiveness, hypocrisy, double-think, extortion, and mere
silliness. Thus the play offers a rich collection of satirical portraits, depicting at the same time a
whole society, ruthlessly acquisitive (Arnold, 1965).
A flaw in the characterization and merit too:
One limitation of The Alchemist as a comedy of humor is the lack of development in the
characters. As already indicated, there is a vital difference between the manners in which
Shakespeare portrays his characters and the manner in which Jonson does so. Shakespeare shows
his characters developing and growing before our eyes, but the characters in Jonson’s plays are
static. The characters in The Alchemist remain the same from beginning to end. If they change at
all, they would change after the play has ended before our eyes.
Dapper, Drugger, Mammon, and the Anabaptists might become wise after their
experience with the rogues and the cheats; but we do not witness this development in the play
itself. We can only guess that these characters might in the future show more discretion and more
caution in dealing with people; but throughout the five Acts of the play, these men remain the
same. However, this limitation in the portrayal of the characters has its bright side also (Amir
and Ahmad, 2020a; 2020b).
54Electronic Research Journal of Behavioural Sciences, Volume 4 (2021)
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We here find a greater concentration on the portrayal of particular humor. Thus
Mammon’s two obsessions-one with gold and the other with sexual pleasure---receive such a
great emphasis through his speeches and his actions that he becomes for us an embodiment of
Epicureanism and Mammonism (Arnold, 1965).
By virtue of this concentration and this increased emphasis on his humor, Mammon
becomes a memorable character, and he is, indeed, one of the most famous characters created by
Jonson. The same is true of Subtle and Face, both of whom have elaborately been drawn and
both of whom impress us greatly by their wit, ingenuity, and inventiveness (Donaldson, 1997).
Conclusion:
On the basis of analysis, followings are concluded:
i. Jonson endowed each of his characters with some particular whim or affectation,
some ludicrous exaggeration of manner, speech, or dress; and he pushed forward
this single odd trait to such an extent that all others might be lost sight of.
ii. The fixed, narrow limits of Jonson’s characterization were opposed to the practice
of contemporary dramatists who gave their characters full play, developing them
spaciously and endowing them with complexity and the faculty of growth.
iii. While portraying the characters, Jonson noticed only obvious individual
peculiarities or the violent actions of exceptional persons. He showed an almost
total disregard of fundamental feelings common to mankind, and his ignorance of
love. He thus never got near to nature in the classical meaning of the word.
iv. Almost all characters in The Alchemist are possessed by one and the same humor,
which is an obsessive desire for money, though individual characters like
mammon have certain other humor or interests also.
v. Subtle, Face and Dol are distinguished from the dupes by their skill, ingenuity,
wit, and freedom from illusion, though they too are driven by the same desire for
wealth. Kastril and Surly are also clearly distinguishable from all the other
characters. Therefore, although the governing vice of the characters in The
Alchemist is very much the same, the variety in the characterization has to be
recognized.
vi. One limitation of The Alchemist as a comedy of humor is the lack of development
in the characters.
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