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Every Man out of His Humour
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A clearer way to understand Every Man out of His Humour through themes, characters, and key ideas
This reading guide highlights what stands out in Every Man out of His Humour through 4 core themes, 4 character profiles. It is meant to help readers decide whether the book fits their taste and deepen the reading once they begin.
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What the book is doing
Ben Jonson's "Every Man out of His Humour" is a groundbreaking late 16th-century comedic play that pioneers the concept of 'humours' as a defining characteristic for its diverse cast. The play serves as a biting social satire, dissecting various forms of human folly, pretension, and vice through an episodic narrative rather than a conventional plot. Framed by the didactic figure of Asper (Jonson's alter-ego), it systematically exposes the absurdities of characters like the envious Macilente, the pompous Puntarvolo, and the aspiring gentleman Sogliardo. Ultimately, the play aims to both entertain and morally instruct, advocating for the correction of societal 'humours' through the mirror of dramatic art.
Key Themes
The Humours and Human Folly
The central theme, explored through Jonson's innovative application of the 'humours' theory. Each character embodies an exaggerated psychological trait (envy, vanity, pompousness, social ambition) that dictates their actions and perceptions. The play demonstrates how these imbalanced 'humours' lead to irrational behavior, social discord, and personal folly, becoming the primary target of Jonson's satire.
Social Pretension and Ambition
Jonson meticulously satirizes the widespread desire for upward social mobility and the adoption of superficial markers of status among the burgeoning London gentry and merchant classes. Characters strive to appear witty, fashionable, and noble, often resorting to imitation, affectation, and outright deception, rather than cultivating genuine virtue or merit.
“"Why, then, a humour is nothing but a sinister and perverse affection of the mind, that takes a man quite beside himself."”
How does Jonson's 'humours' theory define character in the play, and what are its strengths and limitations compared to more psychologically complex characterizations?
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