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Downloaded on 2018-08-23T19:26:29Z Title Marlowe's medievalism: subversion and medieval literature in Christopher Marlowe's drama Author(s) O'Halloran, Meadhbh Eibhlinn Publication date 2017 Original citation O'Halloran, M. E. 2017. Marlowe's medievalism: subversion and medieval literature in Christopher Marlowe's drama. PhD Thesis, University College Cork. Type of publication Doctoral thesis Rights © 2017, Meadhbh Eíbhlinn O'Halloran. http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information No embargo required Item downloaded http://hdl.handle.net/10468/4909 from Downloaded on 2018-08-23T19:26:29Z Introduction: Marlowe’s Medievalism This image depicts the Old Court of Corpus Christi College, Cambridge. This is where Christopher Marlowe spent, with the exception of some unexplained absences, seven years of his life. The ground-floor window on the left is the room in which Marlowe stayed during his time at Corpus, as commemorated by the bronze plaque which now hangs outside. Directly above, the tower of St. Bene’t’s church looms over the court. Dating from the year 800, this church is the oldest structure in Cambridge. Though this apparent juxtaposition of early modern and early medieval culture is nothing unusual, early modern England denied and rejected the pre- Reformation era despite this formidable presence. The architecture of his alma mater thus reflects Marlowe’s literary constructions: Elizabethan life subtly supported and framed by earlier forms. 1 Beyond Cambridge, Elizabethan England was a landscape dotted with ruins of the medieval past. Yet these ruins were often not products of decay and erosion over time, but of deliberate and systematic acts of destruction. Former monastic buildings were not decayed but decimated, as most of the re-appropriated medieval buildings had been seized by force. Medieval literature was as deeply embedded and obviously visible as pre-1500 architecture in Elizabethan life. Marlowe lived in a period of intense cultural change, but at a time in which the disparaged Catholic past was still within living memory. A recent past from which educated elites now sought to distance themselves continued to permeate most aspects of daily life in England. Marlowe, Shakespeare, et al. have been seen, according to Cooper, as “marking the final obsolescence of the medieval” (2013 1) yet their dramas are indebted to and imbedded with the medieval past. Marlowe, perhaps more than any other early modern dramatist, tends to be read through our conceptions rather than in his own context. When we speak about Marlowe, we are all too often discussing only our own conception of Marlowe. When we speak about “audience interpretation”, that audience is ourselves. There is much to be uncovered in Marlowe’s corpus when we remove ourselves from the dynamic and examine the texts on their own terms. This thesis explores Marlowe’s texts within their original Elizabethan context. Such a focus makes apparent Marlowe’s subversive use of medieval literature. My thesis argues that medieval literature and culture deeply permeates Marlowe's work, and is essential to our understanding of the cultural milieu that shaped the English literary canon. Humanists claimed a complete break with the recent past, and a “rediscovery” of classical culture. In a period when medieval literature was 2 dismissed as redundant, can we accept “renaissance” authors’ claims of originality? As Gransden asserts, “perhaps the most distinctive feature of the humanists was that they regarded themselves as humanists, and were so regarded by others” (425). Humanists defined themselves through an emphatic rejection of the medieval, emphasising a supposed break from preceding decades, insisting that the medieval past really was “past”. Marlowe’s engagement with the medieval is to go in the opposite direction, in demonstrating just how deeply embedded in Tudor literature the rejected pre-Reformation era was. Whilst Tudor culture in general sought to reject medieval literature and culture, Marlowe assimilates it into his most innovative and forward-thinking work. Each age interprets, reinterprets and ultimately utilises the Middle Ages for its own ends. Stock memorably states that “the Renaissance invented the Middle Ages in order to define itself, the Enlightenment perpetuated them in order to admire itself; and the Romantics revived them in order to escape from themselves” (Stock 543; Simpson 2002 7). Marlowe notes the continuation between the pre and post-Reformation worlds, and sees similarity where Humanists insist on positing difference. Marlowe’s sources are long recognised as being varied and multiple. As Smith explains: “explorations into the sources which lie behind […] Marlowe’s plays have led to discoveries which, by their number and variety, have at times amazed researchers and revealed Marlowe to be an author who customarily integrated from a surprisingly broad and diverse group of materials” (1977 143). This thesis contends that the literary genetics of medieval literature are re- appropriated by Marlowe for subversive ends. This thesis is a study of Marlowe’s plays, of the subversion of cultural norms in the communal experience of drama. As Wright observes: “among all the forms of entertainment that amused the public of 3 Elizabethan England, none flourished with greater vigour than the drama, and none appealed more to all classes” (603). I cannot place Marlowe in the audience of a specific play, nor can I place a single text in his hands, though as we shall see in the following chapter, many were in extremely close proximity. Thus, this argument is centred on generic formats of drama and literary narrative, and their respective remediation in Marlowe’s oeuvre. Marlowe’s Medievalism Medieval (archaic spelling mediaeval) refers to the “middle” period, between the ancient world and the period known as the Renaissance. Williams notes the “persistent unfavourable use” of the term ‘medieval’ (1976 207), and it goes without saying that it is still a pejorative term today. The term did not exist in Marlowe’s era, and it is crucial to avoid anachronism in the construction of this argument. Thus, this study makes broad use of this term. This thesis is about Christopher Marlowe’s strategic use of medieval literature; Marlowe’s medievalism. “Marlowe’s medievalism” does not simply refer to Marlowe’s use of medieval source texts, although it will be demonstrated that he uses such material in abundance, including popular medieval romance, and drama, and a proliferation of medieval tropes and themes serve as constant touching points throughout his work. Nor does “Marlowe’s Medievalism” refer to the writing of history plays, although Marlowe obviously does make explicit use of medieval history in Edward II. Rather, the term connotes a reading of Marlowe’s deliberate and strategic intertextual use of medieval literature. “Medievalism” in the context of this study has multiple variants: a recent past, albeit across the vast schism of the Reformation. Marlowe’s medievalism is a multi-pronged tool. It utilises the 4 medieval in concrete forms of text and genre, and in the abstract, a medieval imaginary of a pre-Reformation world. The chapters that follow analyse the cultural repetition of literary tropes from the medieval through the early modern period, assessing how this continuation is co-opted by Marlowe for subversive ends. In this study, I identify the significance of medieval tropes and themes throughout Marlowe’s corpus. Moreover, I propose his is a uniquely Elizabethan medievalism, as it functions within a specific frame of reference. Theatre-goers and readers held exacting expectations of the texts they would encounter in the immediate post-Reformation period. Literary renderings of society and ideology supported these structures, but in Marlowe’s case serve to undermine them. Taylor states that medieval reading was often intensive rather than extensive, in that people read the same books repeatedly (Taylor 1999 25; Calkin 4). Medieval literature seeped into the English consciousness more than that of any other period, until perhaps Shakespeare’s own work. Cooper has delineated the pervasiveness of literary motifs in terms borrowed from evolutionary biology, describing repeated literary motifs as “memes”. This is a term coined by Dawkins and applied to literature as “an idea that behaves like a gene in its ability to replicate faithfully and abundantly, but also on occasion to adapt, mutate, and therefore survive in different forms and cultures” (Cooper 2004 3). The middle ages were frequently contrasted inauspiciously with the Elizabethan period. This term has been in regular use since the nineteenth-century, but the tripartite division of Western history was developed in Marlowe’s own lifetime, the sixteenth-century, and became commonplace from the seventeenth-century onwards. It is of course essential to stipulate that the term itself did not exist in Marlowe’s epoch, but the concept of an interim period of a lesser cultural and historical value did exist. For Marlowe, there was no “medieval 5 period”. For Marlowe’s audience, medieval literature was simply popular literature. It was widely available, in various formats, and though disparaged by Humanist scholars and Reformists, was devoured by almost everyone else. The medieval period is one to which Marlowe constantly returns, and invites his audience to recall. This cultural memory was a powerful resource for any dramatist. The most marked difference between the two periods was religion. For an Elizabethan, the dividing
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