Marlowe and the Popular Tradition: Innovation in the English Drama Before 1595Rejecting the traditional stereotypes of Marlowe (spy, troublemaker, homosexual, atheist, university wit) this study considers him as a popular dramatist who inherited an audience with certain expectations and shared experiences. It explores his engagement with the traditions of the popular stage in the 1580s and early 1590s and offers a new approach to his major plays in terms of staging and audience response. This account of English drama in these important but largely neglected years challenges the narratives of change in late 16th century. It Discusses Marlowe's plays in relation to some 30 other playtexts, earlier and contemporary, including Shakespeare's early plays. Marlowe emerges not so much as a precursor of Shakespeare but as an innovator and catalyst of change, the playwright who exploited and transformed the traditional materials of popular drama. |
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Page 68
... hand which had written those blasphemies to be the instrument to punish him , and that in his braine , which had devised the same . I would to God ( and I pray it from my heart ) that all Atheists in this realme , and in all the world ...
... hand which had written those blasphemies to be the instrument to punish him , and that in his braine , which had devised the same . I would to God ( and I pray it from my heart ) that all Atheists in this realme , and in all the world ...
Page 80
... hand ) all the official positions , the public motives , the apparent universal order , and ( on the other hand ) all the private prejudices , the selfish motives , the real universal chaos ' ( 62 ) . But this ironic contrast is quite ...
... hand ) all the official positions , the public motives , the apparent universal order , and ( on the other hand ) all the private prejudices , the selfish motives , the real universal chaos ' ( 62 ) . But this ironic contrast is quite ...
Page 146
... hands , compete with his brother and remaining son to cut off a hand first , and then take delivery of two heads and a hand . And in case the spectators have failed to grasp the horror of all this , the scene ends with a sensational ...
... hands , compete with his brother and remaining son to cut off a hand first , and then take delivery of two heads and a hand . And in case the spectators have failed to grasp the horror of all this , the scene ends with a sensational ...
Contents
Approaches and contexts | 14 |
Viewing the sign | 36 |
Lessons of history | 67 |
Copyright | |
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Marlowe and the Popular Tradition: Innovation in the English Drama before 1595 Ruth Lunney No preview available - 2011 |
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action Apius attention B-text Barabas Barabas's Bevington bond-signing Cambises Cambridge ceremony challenge Christopher Marlowe Clyomon and Clamydes commentary context conventional critical cultural debatable Doctor Faustus dramatic emblems dramatic rhetoric earlier plays early audiences Edward Edward II effect Elizabethan emblematic emotional English example exempla exemplum expectations exploit Faustus's figure on stage framing rhetoric Hattaway Henry Henry VI individual instances interpretation ironies Jew of Malta King Ladies of London late morality late sixteenth-century Lightborn Machiavellian Marlowe's plays medieval Mephistopheles Moral Plays narrative offers opposed voices particular performance perspectives play's players playgoers playhouse playtext playworld playwright Prologue psychomachia Queen's Men recognise Renaissance Drama response Revels Plays Richard Richard II scene sense Shakespeare shift sixteenth Spanish Tragedy spectators speech studies suggests Tamburlaine plays theatre theatrical experience theatrical space Three Ladies Three Lords tion Titus Andronicus traditional rhetoric Troublesome Reign University Press Vice visual signs