"Our scene is London, ’cause we would make known
No country’s mirth is better than our own.
No clime breeds better matter for your whore,
Bawd, squire, impostor, many persons more,
Whose manners, now called humours, feed the stage,
And which have still been subject for the rage
Or spleen of comic writers."
In the Prologue to the play, an announcer explains that the setting of The Alchemist is London. This introduction makes the play a city comedy, or a comedy set in a contemporary city (usually London) that features common or working-class characters rather than nobility or royals. Jonson is credited with the invention of the city comedy, of which The Alchemist is hailed as a shining example.
"For which, at supper, thou shalt sit in triumph,
And not be styled Doll Common, but Doll Proper,
Doll Singular: the longest cut, at night,
Shall draw thee for his Doll Particular."
As Face, Subtle, and Doll Common hatch their plan to scam those in town, Face makes this remark to Doll. Here, Face imagines (on Doll's behalf) that she too will be transformed once their scheme comes to fruition. With the money they make from their scams, Doll will no longer be "common" but "proper," suggesting her transformation from a common prostitute to a desirable lady.
"And I would know by art, sir, of your worship,
Which way I should make my door, by necromancy,
And where my shelves; and which should be for boxes,
And which for pots. I would be glad to thrive, sir:
And I was wish'd to your worship by a gentleman,
One Captain Face, that says you know men's planets,
And their good angels, and their bad."
When the drugger comes to the home seeking help from the "doctor," he explains that his goal is to make his tobacco shop more profitable. Notably, the drugger is a religious man, but he still seeks other forms of worship – like magic.
"I will have all my beds blown up, not stuft;
Down is too hard: and then, mine oval room
Fill'd with such pictures as Tiberius took
From Elephantis, and dull Aretine
But coldly imitated."
When Mammon arrives seeking the council of the Alchemist, he predicts the transformation that awaits him. Here, Mammon imagines that he will live a luxurious life of wealth, comfort, and opulence. The play presents Mammon as an ambitious but foolish man who is willing to give up all his money for the sake of this transformation.
"Infuse vinegar,
To draw his volatile substance and his tincture:
And let the water in glass E be filt'red,
And put into the gripe's egg. Lute him well;
And leave him clos'd in balneo."
As Subtle attempts to play the role of the dedicated Alchemist, he speaks pure nonsense that he passes off as a description of the alchemical process. This is one of many instances in which a character pretends to be well-versed in something they know nothing about, but is able to fool others based on their humorous commitment to the deceptive scheme.
"Alchemy is a pretty kind of game,
Somewhat like tricks o' the cards, to cheat a man
With charming."
Surly is the only character in the play who is skeptical of the Alchemist and alchemy in general. Here, he explains that alchemy is more about deception than it is about transforming anything in actuality. Interestingly, Surly describes this process of deceit with a somewhat affectionate tone, using words like "tricks" and "charming." Many have read this quotation as a commentary on the theater itself, which temporarily "deceives" an audience into believing what they are seeing is real.
"Ha! you distinguish well:
Casting of money may be lawful."
The Anabaptists receive perhaps the most scathingly satirical portrayal in the entire play. Here, they are easily convinced by Subtle that their crime of turning metal into coin is actually legal. In reality, they are making counterfeit coins but pretending there is a distinction between "coining" and "casting" – two identical forms of forgery. This exchange portrays the Anabaptists as opportunistic and deceptive.
"And then Gog-horned. So was Egypt, too:
Then Egypt-clay-leg, and Gog-clay-leg—"
In this quotation, Doll Common is pretending to be a religious woman who has read so much religious literature that she has gone mad. As she speaks to Mammon – who is constantly trying to calm her, but is interrupted by Doll's rambling – she recounts complete nonsense that makes him question her sanity. Many consider this to be one of the most entertaining scenes in the play.
"Be silent: not a word if he call or knock.
I’ll into mine old shape again, and meet him,
Of Jeremy the butler."
Toward the end of the play, Master Lovewit returns home without warning. Here, the audience learns Face's real name (Jeremy), as he prepares to run away with Subtle and Doll and the money they have made from their scams. Lovewit's arrival catalyzes one of the final transformations of the play, when Face will be changed to Jeremy the Butler once more.
"I'll help you to a widow,
In recompense, that you shall give me thanks for,
Will make you seven years younger, and a rich one."
A central motif in The Alchemist is the concept of transformation. Alchemy, after all, is the magical process of transforming metals to silver or gold. However, the only true transformation that occurs is at the very end of the play, when Jeremy/Face is able to change Master Lovewit's life almost instantaneously, a byproduct of his schemes with Subtle and Doll Common.
