Play's the Thing explores the intricate dynamics of games within Ben Jonson's play, The Alchemist. Author Carol A. Carr analyzes the psychological motivations behind the characters' actions, focusing on the rogues Face and Subtle as they manipulate various gulls, including Dapper, Drugger, and Sir Epicure Mammon. The essay delves into themes of ambition, deception, and the nature of play, providing insights into how these elements reflect the societal issues of Jonson's time. This study is valuable for students and scholars interested in Jacobean drama, game theory, and the interplay of comedy and satire in literature.

Key Points

  • Analyzes the psychological motivations of characters in The Alchemist.
  • Explores the themes of ambition and deception through the rogues' interactions.
  • Discusses the societal implications of games in Jonson's work.
  • Examines the roles of gulls like Dapper, Drugger, and Sir Epicure Mammon.
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Colby Quarterly Colby Quarterly
Volume 18
Issue 2
June
Article 5
June 1982
Play's the Thing: A Study of Games in the Alchemist Play's the Thing: A Study of Games in the Alchemist
Carol A. Carr
Follow this and additional works at: https://digitalcommons.colby.edu/cq
Recommended Citation Recommended Citation
Colby Library Quarterly, Volume 18, no.2, June 1982, p.113-125
This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for
inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby.
Play's the Thing:
A
Study
of
Games in The Alchemist
by
CAROL
A.
CARR
AL
THOUGH
much admired, The Alchemist has always presented cer-
.n.
tain problems for the critic. How did Jonson intend us
to
under-
stand his play? Is it a comedy
or
a satire? Is Lovewit
to
be applauded
or
condemned? Such debates are owing largely to the intriguing mixture
of
tones in the play: individual passages elicit diverse responses,
and
it
is
difficult
to
evaluate the impact
of
the
playas
a whole. Nevertheless,
developments outside the field
of
literature have in recent years pro-
vided new material with which to approach these questions.
Games-
both
their theory and their
practice-have
become the object
of
study in
a number
of
disciplines,
and
the resulting insights provide help in under-
standing
Jonson's
work: for The Alchemist, consisting
of
a series
of
interrelated games, can be seen as an exploration
of
man
at
"play."
To say
that
The Alchemist
is
about games
is
not to say
that
it
is
a friv-
olous work. The twentieth century has seen the increasing recognition
of
the importance
of
games in
our
lives, and
we
have come to understand
that
"play"
can be deadly serious. Studies
of
games have shown
that
they are
not
occasional, isolated phenomena: the patterns
of
play found
in childhood frolic and adult contests
of
skill are found as well in daily
social interaction, in
personal-even
intimate-relationships,
and
in
international events such as wars. Thus, games themselves, even in their
simplest forms, reflect patterns which are highly significant to us.
I
Our
growing perceptions about the nature
of
games enable us to
approach
The Alchemist anew. The play consists almost entirely
of
games-of
separate yet related confidence games played
on
a variety
of
gulls,
and
of
a grand contest between the two chief rogues, Face and
Subtle. These games are obviously designed as means for Jonson to
present the follies and abuses
of
his times, yet they can yield new in-
sights when approached from the perspectives furnished by twentieth-
century studies in the psychology and aesthetics
of
games. Jonson was
1.
Twentieth-century material on games
is
copious and far ranging, touching
on
such widely diver-
gent fields as mathematics, psychology,
and
social sciences. Perhaps the two most important landmarks
in the reevaluation
of
the
role
of
games
and
play in human experience are Freud's Beyond the Pleasure
Principle
and von Neumann
and
Morgenstern's Theory
of
Games and Economic Behavior. A review
of
game theory can be found in Games
and
Decisions by R. D. Luce and
H.
Raiffa. For this essay I will be
drawing on two
popular
but
quite different approaches to games, both written for the layman: Eric
Berne's
Games People Play: The Psychology
of
Human Relationships (New York: Grove Press, Inc.,
1964)
and
Johan
Huizinga's
Homo
Ludens: A Study
of
the Play Element in Culture, trans. George
Steiner (New York:
Harper
and
Row, 1970 [first edition, London: 1938]).
113
1
Carr: Play's the Thing: A Study of Games in the Alchemist
Published by Digital Commons @ Colby, 1982
114
COLBY
LIBRARY
QUARTERLY
not anticipating such analyses; he was observing errant humanity before
him
and
recreating the enduring patterns which only lately
we
have
begun
to
label.
The individual games between the rogues
and
their victims demon-
strate Jonson's observations
of
man's
complex psyche. The gulls present
a fascinating variety
of
mental types. Most interesting from this view-
point are Dapper, Drugger,
and
Sir Epicure. All come
to
Subtle for
money. Dapper wants a familiar so he can win
at
gambling, Drugger
wants his shop set up so it will be profitable,
and
Sir Epicure wants the
philosopher's stone so he can make gold. However, they are really at-
tracted
to
Subtle's den for other reasons as well, reasons often far more
important than money. This
is
why
we
shortly find Dapper waiting upon
his Aunt
of
Faery, Drugger hoping
to
marry a widow, and Sir Epicure
chasing Dol. The original object, money,
is
partly
or
totally obscured.
The games Subtle and Face play with these gulls are aimed at their
underlying psychological motivations as much as their desire for gain.
For this reason the rogues are successful even when'the gulls keep losing
money.
Before analyzing the games being played between the rogues
and
these
three gulls,
we
need a few critical terms and a schema which will help us
see
the psychological patterns
at
work. Eric Berne provides these in his
well-known book,
Games People Play, a psychoanalysis
of
games.
Berne defines a game as
"a
recurring set
of
transactions, often repeti-
tious, superficially plausible, with a concealed
motivation."
2 He sug-
gests
that
games can be analyzed by studying the ego states involved.
When the Adult ego state operates,
we
react
to
experience objectively.
When the Parent ego state operates,
we
react as
our
parents did
or
as
we
conceive they should have. When the Child ego state operates,
we
react
in patterns fixed in early life. A game
is
ostensibly a transaction between
two adults, but in reality at least one player
is
operating
on
a Child
or
Parent level.
Berne
is
primarily concerned with "unconscious games," games
played by people not fully aware
of
what they are doing. Nevertheless,
his analysis applies as well
to
the types
of
games seen in The Alchemist,
games which he labels
"angular
transactions."
These games are con-
sciously planned, with the Adult in control,
and
are designed
to
yield
dividends. In this category Berne places the confidence games
of
profes-
sional impostors as well as the games played by businessmen
and
re-
ported in trade journals.
3 An example Berne gives
of
the latter
is
that
of
a salesman angling for a purchase who tells the customer
that
he prob-
ably cannot afford the item. The saleman
is
aiming at the Child in the
customer who will think,
"I'll
show
that
arrogant fellow."4
2.
Berne, p. 48.
3.
Berne, p. 49.
4. Berne,
p. 33.
2
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End of Document
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FAQs

What are the main themes explored in The Alchemist?
The Alchemist explores themes of ambition, deception, and the nature of play. Through the characters' interactions, particularly between the rogues Face and Subtle and their gulls, the play critiques societal norms and human folly. The ambition of characters like Sir Epicure Mammon highlights the lengths individuals will go to achieve wealth and status, while the various confidence games illustrate the deceptive nature of human relationships.
Who are the main characters in The Alchemist and their roles?
The main characters in The Alchemist include Face, Subtle, and Dol, who are the central rogues, and their gulls, such as Dapper, Drugger, and Sir Epicure Mammon. Face and Subtle orchestrate various schemes to deceive their victims, while Dol serves as a key accomplice. Each gull represents different societal archetypes, with their interactions revealing deeper psychological motivations and societal critiques.
How does the concept of 'play' function in The Alchemist?
In The Alchemist, the concept of 'play' serves as a framework for understanding the characters' interactions and the underlying themes of the play. The rogues engage in a series of confidence games that reflect both the seriousness of their ambitions and the frivolity of their methods. This duality highlights how play can be both entertaining and revealing, offering insights into human nature and societal flaws.
What psychological theories are applied in the analysis of The Alchemist?
Carol A. Carr applies psychological theories from Eric Berne's 'Games People Play' to analyze the interactions between the rogues and their gulls in The Alchemist. Berne's concepts of ego states and unconscious games provide a framework for understanding the motivations behind the characters' actions. This analysis reveals how the rogues manipulate their victims by appealing to their underlying desires and insecurities.
What role do the gulls play in The Alchemist?
The gulls in The Alchemist, including Dapper, Drugger, and Sir Epicure Mammon, serve as representations of various societal archetypes and human weaknesses. Each gull approaches the rogues with specific desires, such as wealth or social status, but ultimately becomes a victim of deception. Their interactions with Face and Subtle illustrate the complexities of human ambition and the ease with which individuals can be manipulated.
How does Carr interpret the humor in The Alchemist?
Carr interprets the humor in The Alchemist as a reflection of the rogues' audacity and the absurdity of their schemes. The comedic elements arise from the clever dialogue and the exaggerated characteristics of the gulls, which serve to entertain while also critiquing societal norms. This blend of comedy and satire allows the audience to engage with the play on multiple levels, appreciating both its humor and its deeper messages.

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