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Cosmetics in Shakespearean and Renaissance Drama$
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Farah Karim-Cooper

Print publication date: 2006

Print ISBN-13: 9780748619931

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748619931.001.0001

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Jonson’s Cosmetic Ritual

Jonson’s Cosmetic Ritual

Chapter:
(p.111) Chapter 5 Jonson’s Cosmetic Ritual
Source:
Cosmetics in Shakespearean and Renaissance Drama
Author(s):

Farah Karim-Cooper

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748619931.003.0005

This chapter clarifies that although Ben Jonson is morally opposed to women who paint their faces, he too appropriates the materials and metaphors of cosmetic adornment to serve his own dramatic purposes. Additionally, it argues that in Jonson's two comedies, painted faces, cosmetic recipes and prosthetic women are not only the objects contained within, but are also the subjects of the dramatic action, because cosmetics are crucial to the satire of Epicoene and to the staging of Wittipol's trick in The Devil is an Ass. Jonson's incorporation of the cosmetics debate into his drama has a classical precedence. Jonson's linguistic inclusion of cosmetic ingredients into his dramatic language and his requirement for cosmetic materiality on the stage, though satirically motivated, celebrates, paradoxically, the cultural diversity of the cosmetics industry, its geographical pervasiveness and its usefulness to the industry of playing.

Keywords:   cosmetics, Ben Jonson, Epicoene, Devil, dramatic language, painted faces, cosmetic recipes, prosthetic women

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