Copia and Artifice in Jonson's Epicoene

1) Many of Truewit’s speeches feature lingustic copia—almost logorrhea—that enables him to “list” numerous points of advice in a single speech; he usually employs this technique using long sentences in which semicolons set off each item in the series. Several of Truewit’s speeches fit the “copious” model: to Morose in II.ii (on the dangers of marriage); to Morose in III.v (advice on the wedding feast and cursing Cutbeard); and to Clarimont and Dauphine in IV.i (knowledge of the courtier). What is the effect of these speeches on different characters? How does copia affect the essential knowledge that Truewit is imparting? What do we make of Morose learning to “contain [his] mind, not suff’ring it to flow loosely” (V.iii.46-49) and how this outlook contrasts with Truewit’s?

2) Several characters in Epicoene comment on artifice, regarding both women and music. Clerimont assures Morose that the “music of all sorts” merely originates from “hair, rosin, and guts,” according to the “receipt” (III.vii.1-7). Truewit lists different ways that women can hide their imperfections with artifice (IV.i.31-42). During his invective against his wife, Otter figuratively dismantles her body in order to exhibit her artifice (IV.ii.83-93). All in all, artifice hides the disgusting or originates from the disgusting. Does Jonson condone or vilify artifice in Epicoene? What about Truewit? What about the role of artifice in the several
“plots” occurring in the play?