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 5
... voice ( the single voice of the Elizabethan World Picture , let us say ) but with many competing voices . Even so , we have not listened attentively enough to the voices - especially those on the other side of Shakespeare , such as that ...
... voice ( the single voice of the Elizabethan World Picture , let us say ) but with many competing voices . Even so , we have not listened attentively enough to the voices - especially those on the other side of Shakespeare , such as that ...
Page 109
... voices , these remain in most instances comple- mentary to the play's authorised version . The Jew's second Vice monologue , the soliloquy of Barabas , increases the impression of multiple voices claiming the audience's attention . But ...
... voices , these remain in most instances comple- mentary to the play's authorised version . The Jew's second Vice monologue , the soliloquy of Barabas , increases the impression of multiple voices claiming the audience's attention . But ...
Page 142
... voices here are especially combative , though by no means unusual . Some years earlier , Hieronymo's voices had registered his conflicting impulses as he toyed with the familiar implements of despair : This way , or that way ? Soft and ...
... voices here are especially combative , though by no means unusual . Some years earlier , Hieronymo's voices had registered his conflicting impulses as he toyed with the familiar implements of despair : This way , or that way ? Soft and ...
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 |
Common terms and phrases
action Angels appears attention audience aware Barabas becomes called ceremony challenge character complex Conscience contemporary context continue conventional critical cultural death debatable defined developed direct discussion drama earlier early Edward effect elements Elizabethan emblem emblematic emotional English especially example expectations exploit Faustus figures framing Henry important individual instances interpretation kind King language late later less London Looking Lords Marlowe Marlowe's Marlowe's plays matter means moments morality narrative nature notes offers particular pattern performance perhaps perspectives play's players playhouse plays political popular position possible practice presented Press Prologue provides reference reflect relationship Renaissance response rhetoric Richard scene seen sense Shakespeare shift significant simply sixteenth-century social space spectators speech stage structures studies suggests Tamburlaine theatre theatrical experience Three Ladies tion traditional Tragedy University values Vice visual signs voices