conversations.from: human
conversations.value: Give me a plot for a story about Humour, Latin, Kno\'well entitled Every Man in His Humour.. End with the sentence '\nIt sticks quite carefully to the Aristotelian unities; the plot is a tightly woven mesh of act and reaction; the scenes a genial collection of depictions of everyday life in a large Renaissance city.'.
conversations.from: assistant
conversations.value: Every Man in His Humour: In general outline, this play follows Latin models quite closely.\nIn the main plot, a gentleman named Kno\'well, concerned for his son\'s moral development, attempts to spy on his son, a typical city gallant; however, his espionage is continually subverted by the servant, Brainworm, whom he employs for this purpose.\nThese types are clearly slightly Anglicized versions of ancient types of Greek New Comedy, namely the senex, the son, and the slave.\nIn the subplot, a merchant named Kitely suffers intense jealousy, fearing that his wife is cuckolding him with some of the wastrels brought to his home by his brother-in-law, Wellbred.\nThe characters of these two plots are surrounded by various "humorous" characters, all in familiar English types: the irascible soldier, country gull, pretentious pot-poets, surly water-bearer, and avuncular judge all make an appearance.\nThe play works through a series of complications which culminate when the justice, Clement, hears and decides all of the characters\' various grievances, exposing each of them as based in humour, misperception, or deceit.\nJonson\'s purpose is delineated in the prologue he wrote for the folio version.\nThese lines, which have justly been taken as applying to Jonson\'s comic theory in general, are especially appropriate to this play.\nHe promises to present "deeds, and language, such as men do use:/ And persons, such as comedy would choose,/ When she would show an Image of the times,/ And sport with human follies, not with crimes".\nThe play follows out this implicit rejection of the romantic comedy of his peers.\nIt sticks quite carefully to the Aristotelian unities; the plot is a tightly woven mesh of act and reaction; the scenes a genial collection of depictions of everyday life in a large Renaissance city.
conversations.from: human
conversations.value: Give me the first three paragraphs for this story.
conversations.from: assistant
conversations.value: Every Man in His Humour
  THE greatest of English dramatists except Shakespeare, the first literary dictator and poet-laureate, a writer of verse, prose, satire, and criticism who most potently of all the men of his time affected the subsequent course of English letters: such was Ben Jonson, and as such his strong personality assumes an interest to us almost unparalleled, at least in his age.
  Ben Jonson came of the stock that was centuries after to give to the world Thomas Carlyle; for Jonson's grandfather was of Annandale, over the Solway, whence he migrated to England. Jonson's father lost his estate under Queen Mary, "having been cast into prison and forfeited." He entered the church, but died a month before his illustrious son was born, leaving his widow and child in poverty. Jonson's birthplace was Westminster, and the time of his birth early in 1573. He was thus nearly ten years Shakespeare's junior, and less well off, if a trifle better born. But Jonson did not profit even by this slight advantage. His mother married beneath her, a wright or bricklayer, and Jonson was for a time apprenticed to the trade. As a youth he attracted the attention of the famous antiquary, William Camden, then usher at Westminster School, and there the poet laid the solid foundations of his classical learning. Jonson always held Camden in veneration, acknowledging that to him he owed,
  In 1592, Jonson returned from abroad penniless. Soon after he married, almost as early and quite as imprudently as Shakespeare. He told Drummond curtly that "his wife was a shrew, yet honest"; for some years he lived apart from her in the household of Lord Albany. Yet two touching epitaphs among Jonson's "Epigrams," "On my first daughter," and "On my first son," attest the warmth of the poet's family affections. The daughter died in infancy, the son of the plague; another son grew up to manhood little credit to his father whom he survived. We know nothing beyond this of Jonson's domestic life.
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conversations.value: Give me four more paragraphs.. End with the sentence ' Marry, (God's my comfort) where I thought I should have had little comfort of your worship's service.'.
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conversations.value: PROS. Come, do not protest, I believe thee: i'faith, she is a virgin of good ornament, and much modesty, unless I conceived very worthily of her, thou shouldest not have her.
  PROS. By St. Mark, thou shalt have her: I'll go fetch her presently, 'point but where to meet, and by this hand, I'll bring her!
  LOR. JU. I pray thee have patience, I am satisfied: Prospero, omit no offered occasion that may make my desires complete, I beseech thee.
  MUS. Marry, (God's my comfort) where I thought I should have had little comfort of your worship's service.
conversations.from: human
conversations.value: Give me the last three paragraphs.
conversations.from: assistant
conversations.value: VAPOUR(S) (n. and v.), used affectedly, like "humour," in many senses, often very vaguely and freely ridiculed by Jonson; humour, disposition, whims, brag(ging), hector(ing), etc.
  VELVET CUSTARD. Cf. "Taming of the Shrew," iv. 3, 82, "custard coffin," coffin being the raised crust over a pie.
  WINE, "I have the — for you," Prov.: I have the perquisites (of the office) which you are to share (Cunningham).
conversations.from: human
conversations.value: Delete the first sentence.
conversations.from: assistant
conversations.value: and v.), used affectedly, like "humour," in many senses, often very vaguely and freely ridiculed by Jonson; humour, disposition, whims, brag(ging), hector(ing), etc.
  VELVET CUSTARD. Cf. "Taming of the Shrew," iv. 3, 82, "custard coffin," coffin being the raised crust over a pie.
  WINE, "I have the — for you," Prov.: I have the perquisites (of the office) which you are to share (Cunningham).