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An Apology for the Villain-Hero : a Study of Christopher Marlowe’S Tragic Works

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An Apology for the Villain-Hero : a Study of Christopher Marlowe’S Tragic Works Lingnan University Digital Commons @ Lingnan University Lingnan Theses and Dissertations Theses and Dissertations 7-30-2020 An apology for the villain-hero : a study of Christopher Marlowe’s tragic works Yue ZHU Follow this and additional works at: https://commons.ln.edu.hk/otd Part of the English Language and Literature Commons Recommended Citation Zhu, Y. (2020). An apology for the villain-hero: A study of Christopher Marlowe’s tragic works (Doctor's thesis, Lingnan University, Hong Kong). Retrieved from https://commons.ln.edu.hk/otd/101/ This Thesis is brought to you for free and open access by the Theses and Dissertations at Digital Commons @ Lingnan University. It has been accepted for inclusion in Lingnan Theses and Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. AN APOLOGY FOR THE VILLAIN-HERO: A STUDY OF CHRISTOPHER MARLOWE’S TRAGIC WORKS ZHU YUE PHD LINGNAN UNIVERSITY 2020 AN APOLOGY FOR THE VILLAIN-HERO: A STUDY OF CHRISTOPHER MARLOWE’S TRAGIC WORKS by ZHU Yue 朱悅 A thesis submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in English Lingnan University 2020 ABSTRACT An Apology for the Villain-hero: A Study of Christopher Marlowe’s Tragic Works by ZHU Yue Doctor of Philosophy Suffering and death are the basic human conditions, hence the importance of the cognitive function and value of tragic art that re-presents suffering and death on stage. Aristotle’s Poetics is the first theoretical work in the history of Western aesthetics to comprehensively discuss the topic of tragedy. In answer to Plato’s criticism of dramatic art, Aristotle argues that tragedy “effects through pity and fear the catharsis of such emotions”, which are best aroused by the spectacle of a moderately good man who falls into misery not through vice but through some hamartia. By evocation of such passions, our emotions are purged of discomforting elements. However, Aristotle based his theory solely on, and therefore was limited by his knowledge of the tragic works appealing to him most. In fact, this generalization is not universally applicable to Greek tragedy; certainly it is too narrow to encompass the whole truth about tragic works that take place after his time. Fortunately not all the tragedians are Aristotelians. After tragic drama made a triumphant return to Elizabethan England, we see at the first glance that the tragic protagonist is radically different from Aristotle’s ideal one. The English dramatists, instead of strictly observing Aristotle’s stipulation, had absolutely free choice of subject matter, and among them Christopher Marlowe is an influential figure. His tragic hero with a morally shocking nature parade through a series of incidents which reveal dramatically his destructive or evil quality. However, traditional critics still attempted to interpret Marlovian tragic characters in heroic terms, denying the fact that a downright villain can be placed in the position of tragic protagonist. As a matter of fact, Marlowe’s presentation of evil genius impedes any critical approach either from an Aristotelian perspective, with its demands for a decent hero, or from a romantic- humanist perspective, which exalts and values the rebel and the individualist. Inwardly and inherently, Marlovian heroes are incarnation of guileful wickedness, whose insatiable will triumphs over any other considerations and justifies them to themselves. Correspondingly, the emotions aroused by his villain-hero tragedy are much more intense and varied, in which pity is felt for the innocent victims; and fear is not sufficient to explain the overwhelming sense of horror, it is a deeper sense of the sublime. In short, Marlowe’s contribution to the subject-matter for tragic drama is particularly noticeable, drawing our attention to the destruction of villains that were largely neglected and condemned by classical dramatists and theorists alike. Later critics and philosophers are encouraged to develop tragic theories to provide a useful compliment to Aristotle’s. Instead of sticking to one particular kind of subject or one distinctive textual effect as being essential to tragedy, we should invite different debates about how to appreciate presentations of human suffering on stage. Though we live in a brighter world than what many tragedians painted dramatically, it is also full of sufferings; the real tragic pleasure lies in our recognition of human suffering and exploration of its possible solutions. In answer to the question why people who do not welcome and enjoy scenes of terrible suffering in reality seek out those scenes and enjoy them in tragic drama, we may propose that tragic art has a wide range of effects that reach beyond pleasure, such as the cognitive value in grappling with the difficulties of human existence. CONTENTS Acknowledgements ...................................................................................................... ii Introduction .................................................................................................................. 1 Chapter One Sophoclean Hero and Aristotle’s Theories of Catharsis and Hamartia ................................................................................................................................... .13 1.1 Oedipus the Ideal Tragic Hero ......................................................................... 18 1.2 Antigone the Successor of Oedipus .................................................................. 37 1.3 Aristotle’s Theories of Catharsis and Hamartia .............................................. 48 Chapter Two Marlowe the Renaissance Man ............................................................. 57 2.1 Tamburlaine the Conqueror .............................................................................. 60 2.2 Faustus the Inquirer .......................................................................................... 78 2.3 Barabas the Redeemer ...................................................................................... 90 Chapter Three Marlowe the Machiavellian .............................................................. 106 3.1 The Elizabethan World Picture—Moral Tensions of the Elizabethan Era ..... 108 3.1.1 The Vast Chain of Being ......................................................................... 109 3.1.2 Villain as Hero ......................................................................................... 114 3.1.3 Machiavellian Influence .......................................................................... 123 3.2 Tamburlaine the Great as a Spectacle of Terror ............................................. 126 3.3 The Tragic History of Doctor Faustus as a Medieval Morality Play ............. 138 3.4 The Jew of Malta as a Tale of Insatiable Greed ............................................. 147 Chapter Four Marlowe’s Contribution to Tragic Drama and Theory ...................... 164 4.1 Marlowe’s Influence on Shakespeare and beyond ......................................... 164 4.2 Limitations of Aristotle’s Tragic Theory ........................................................ 185 4.3 Theory of Tragic Conflict and Theory of Sublimity ...................................... 193 Conclusion ................................................................................................................ 208 Bibliography ............................................................................................................. 213 i Acknowledgements Intellectual products never come out of thin air. The core ideas in the present dissertation represent an effort of integrating several intellectual traditions and demonstrate the influence of my teachers, colleagues, and friends. First and foremost, I am heavily indebted to my chief supervisor Professor Ding Ersu, whose support, guidance, encouragement, and fatherly concern were invaluable throughout my doctoral study. A series of his seminal papers on tragedy serve as a perfect point of departure as well as a theoretical basis for my exposition on this topic. Professor Ding not only generously provided inspiring comments and constructive suggestions for my drafts, but also sharpened my mind in thinking about how to be a good scholar. It is indeed my supreme honor to be his student, and I will never forget the many pleasant and rewarding talks with him in his office. Moreover, a special appreciation goes to my former co-supervisor Professor Michael Ingham for his inspiring comments on individual chapters and encouragement on thesis development. Likewise, my thanks go to my co-supervisor Professor Andrew Sewell, who supports me all the way through my study. I also wish to extend my sincere gratitude to all colleagues in the Department of English for their generous help and concern. Last but not least, heartfelt thanks are due to my family for their unfailing support and almost blind confidence in me. ii Introduction Why do we read tragedies? Why do we seek out painful aesthetic experiences? Towards tragedy a variety of views have been developed. At one extreme stands Plato, who denies the value of tragedy for he insists that a good man can never really suffer misfortune, and identifies himself with the absolute verities, which lies beyond the reach of contingency. On this view, the
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