Self and Power: Political Reconstruction in the Drama of Christopher Marlowe. Patricia A

Total Page:16

File Type:pdf, Size:1020Kb

Self and Power: Political Reconstruction in the Drama of Christopher Marlowe. Patricia A Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1991 Self and Power: Political Reconstruction in the Drama of Christopher Marlowe. Patricia A. Brown Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Brown, Patricia A., "Self and Power: Political Reconstruction in the Drama of Christopher Marlowe." (1991). LSU Historical Dissertations and Theses. 5169. https://digitalcommons.lsu.edu/gradschool_disstheses/5169 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Beil & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Order Number 9207491 Self and power: Political reconstruction in the dr a m a of Christopher Marlowe Brown, Patricia A., Ph.D. The Louisiana State University and Agricultural and Mechanical Col., 1991 U-M-I 300 N. Zeeb Rd. Ann Arbor, MI 48106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. SELF AND POWER: POLITICAL RECONSTRUCTION IN THE DRAMA OF CHRISTOPHER MARLOWE A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Patricia A. Brown B.A., Louisiana State University, 1978 M.A., Louisiana State University, 1981 August 1991 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Preface This dissertation explores what it means to say that Marlowe's work is "political." How does power work in his plays? His drama does not conform very closely to the "Elizabethan world picture," nor is it as radically subversive as New Historicist critics would read it. Between Tillyard and Greenblatt, then, lies a political interpretation of Marlowe's theater as a challenge to authority. Tamburlaine, Faustus, and the other protagonists are not merely overaspiring villains, nor are they just Machiavellian politicians making it in a wcrld of realpolitik. Stephen Greenblatt's essay on Marlowe in Renaissance Self-Fashioning argues that Marlowe was radically challenging Tudor hegemony. Greenblatt was influenced by the theories of Michel Foucault, who suggested that power is a circulating function of politics. If, following Foucault's idea, power were flowing differently among the characters of these plays, then their playwright might be challenging the prevailing, Christian providentialist structure of Renaissance England as well as its pragmatic, even ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. subversive Italian-realist opposite. Foucault, who deliberately opposes humanism, is a connection from Greenblatt into political theory. Two other twentieth- century theorists, Hannah Arendt and Roberto Unger, also critique power but from within the same context of Western libera!-humanist tradition in which Marlowe wrote. They study the history of politics and sovereignty and the conceptualization of the hitman subject. Throughout this dissertation, I am in a dialogue of theory and drama. The ways in which Foucault, Arendt, and Unger discuss politics have led me to formulate some ideas about political expression differently from the providentialist viewpoint of Tillyard and the paradoxically subversive view of Greenblatt. Marlovian heroes seem to create varying challenges to existing structures of religious and political authority. The combinations of self and power I find in Marlowe's theater represent a mode of dissent relevant to political life in Marlowe's time and in o u r s . iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Table of Contents Preface ii Abstract v Chapter 1 Political Marlowe 1 Chapter 2 A Parade of Rings 35 Chapter 3 Lords of House 84 Chapter 4 Among Peers 134 Chapter 5 “Resolve Me of All Ambiguities" 183 Conclusion Mo Soft Parade_________________________________________ 239 Bibliography 261 Vita 280 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Abstract Christopher Marlowe created Renaissance drama as we think of it today. Marlowe’s princely protagonists are studied here not as sovereigns responsible for the general well-being of their subjects, but as ambitious characters who use power to control their personal environment. Seen from this viewpoint, the dramatic function of the central characters is either to develop a new stance toward the idea of public authority or to refashion an old one. Instead of attending to governance, they attempt to encompass all existence within themselves: Tamburlaine the world conqueror; Edward and Dido, public rulers whose private relationships transform their public positions; the Guise and his hypocrisy of public religion and private vengeance; Barabas and the uses of power and wealth in The Jew of Malta: Faustus, whose supernatural aspirations contain both hell and (he thinks) heaven in its scope. Zn creating a new politics (and new politicians), Marlowe's texts fuse private life and governing structures by personifying those structures. The ruler becomes the representative political ''man" looking for a way to integrate the facets of his character into a v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. holistic human existence. The failure of central authority in these plays to be entirely orthodox or successfully hegemonic suggests that an inclusive politics of power could increase the ability of the characters to succeed by making their aspirations cooperative instead of competitive. Marlowe's drama emphasizes self-actualization (one could even say self- dramatization) without explicit moral judgments. The work of three twentieth-century political thinkers provides the theoretical coherence for this view of politics as a possible means to self- actualization or humanization: Hannah Arendt, Michel Foucault, and Roberto Mangabeira Unger. Arendt surveys the deterioration of the Greek idea of the polls into a separation of the public and private realms of existence. Foucault's investigations support a view of the moral neutrality of power. Unger argues that domination is the one form of human action which does not increase human actualization. Because Marlovian protagonists are unconventional figures, ambitious for power, they offer various challenges to the traditional structure of authority. vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Chapter 1 Political Marlowe I "There is a conjunction of these two things, political power and philosophical intelligence."1 With these words Socrates, that famous questioner executed for subversive teaching, asserts the importance of politics in human activity. More than two thousand years later, German cultural critic Predric Jameson argues in The. Political Pnconscious for "the priority of the political interpretation of literary texts" (17). This connection between politics and literature is particularly relevant to the dramatic works of Elizabethan playwright Christopher Marlowe. Marlowe; "young Kit," the bad boy of early Renaissance literature, innovative master of the "mighty line"; performer of some secret service for Queen Elizabeth's government; accused by his friend Thomas Kyd and reported by others to have held unorthodox
Recommended publications
  • And “Humanism” in Christopher Marlowe's Tragedies
    International Journal on Studies in English Language and Literature (IJSELL) Volume 3, Issue 12, December 2015, PP 6-10 ISSN 2347-3126 (Print) & ISSN 2347-3134 (Online) www.arcjournals.org Analysis of “Desire” and “Humanism” in Christopher Marlowe’s Tragedies Yonggang Zhao School of Foreign Languages, China West Normal University No. 1 Shi Da Road, Nanchong, 637009, Sichuan, China [email protected] The research is financed by Sichuan Foreign Language and Literature Research Center (Project No. SCWY14-18) and Research Innovation Team of China West Normal University Named “Study on Ecological Literature Criticism” Abstract: Christopher Marlowe was the most significant playwright in Great Britain before Shakespeare and he has been titled as “the Farther of English Tragedy”. His special achievements lies in his contributions to advocate humanism in his plays which makes him become the forerunner of Shakespeare and other playwrights in Renaissance period. This paper explores how he shows his “humanism” by describing the hero’s “desire” in his three most important tragedies Tamburlaine the Great, The Tragic History of Doctor Faustus and The Jew of Malta. Keywords: Desire, Humanism, Christopher Marlowe’s Tragedies. 1. INTRODUCTION Christopher – Marlowe, the playwright and poet of British Renaissance in the 16th century, after waiting for up to four hundred years, obtained courtesy to be buried in Westminster Abbey ―poet‘s Corner‖ in 2002, slept with the most influential art elites in British history such as Chaucer, Shakespeare, Dickens, Browning, Tennyson, Byron, and Milton and accepted people‘s memorial and respect because of his extraordinary literary achievement and contribution to English literature, in 2002.
    [Show full text]
  • Link to Magazine Issue
    fr~m tn~ ~ir~~t~r Dear SOHS members and friends: This issue of Southern Oregon Heritage Today is unique, in that it deals exclusively with the issue of race in Southern Oregon, a some­ times controversial and heated topic, and one that has frequently been downplayed as we examine the history of our region. And that's exactly why we wanted to take it on. From the mistreatment of Native Americans by immigrant white settlers to the relocation of Japanese residents to camps just across the California border, from the use (and abuse) of illegal Mexican laborers in the Rogue Valley's orchards to the racism displayed toward Chinese miners and laborers in Jacksonville, from the intol­ erance shown Mrican Americans in 21st century Medford, Ashland or Eagle Point to the slavery and warfare between Indian tribes during the pre-contact era, the fabric of Southern Oregon society has often been torn, tattered, and tested by intolerance, racism, ignorance, and hate. It is the Southern Oregon Historical Society's obligation to tell these stories, even if some people may not wish to hear or read about them. We do so here not with any intention to divide or demonize, rather to help our readers understand that we are all part of a greater whole, a common heritage, and that one does not heal and grow by denying an often conflict-ridden, complicated past. Library & Most are stories from the past; some are more present-day. I espe­ cially want to thank D.L Richardson for telling his story of what it's like for an African-American man to arrive to a new posting in !iiOo-Samudson.
    [Show full text]
  • “Mark This Show”: on Dramatic Attention in Christopher Marlowe’S and William Shakespeare’S Tragedies
    “MARK THIS SHOW”: ON DRAMATIC ATTENTION IN CHRISTOPHER MARLOWE’S AND WILLIAM SHAKESPEARE’S TRAGEDIES by JAMIE PARIS B.A. (Honours), University of Winnipeg, 2005 M.A., University of Regina, 2008 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (English) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) AUGUST 2015 © Jamie Paris, 2015 ii Abstract This dissertation will argue that the early modern theatre and the early modern church were both concerned with keeping the attention of their audiences, and that one of the ways that dramatic interest in Christopher Marlowe's and William Shakespeare's plays was generated was by staging acts that can be read as ambiguous, interrupted, failed or parodic confessions, prayers, and sermons. In particular, I will argue that when the characters in Marlowe’s and Shakespeare’s tragedies fail to find solace in acts that model reformed devotional practices, they eventually suffer the strange but dramatically engaging consequences of their tragic passions like despair, hatred, jealousy, fear, and rage. This dissertation, then, will bridge the turn to religion and affect studies as a means of arguing that early modern tragedy was consumed with attracting, and sustaining, the dramatic attention of the audience. While it is not possible to say, with any finality, why tragedies hook an audience's attention, it is possible to suggest how Marlowe's and Shakespeare's tragedies used the passions generated by the failure of model devotional acts as a means of capturing and sustaining the attention of the audience.
    [Show full text]
  • Doctor Faustus
    11 THOMAS HEALY Doctor Faustus Enter with Devils, giving crowns and rich apparel to Faustus, and dance and then depart. Faustus:Speak,Mephistopheles.Whatmeansthisshow? Mephistopheles:Nothing,Faustus,buttodelightthymindwithal And to show thee what magic can perform. (DF 2.1.83–5)1 From the mid-eighteenth century when interest in Doctor Faustus revived, critical attention on the play has largely focused on what may be termed its metaphysical concerns. Is Marlowe challenging conventional Christian perspectives on hell and heaven, or does his play ultimately conform with them? Is Faustus a tragic hero or a misguided sinner? Though scholarship on Doctor Faustus has increasingly complicated issues surrounding the origin and status of the play’s two main versions, ideas of what may be termed high seriousness have dominated debate about its content. For both readers of a text and spectators at performances, attention is commonly concen- trated on those scenes that engage most thoroughly with a tragic dimension. The scenes of farce attract much less attention. But what type of play en- gaged early spectators? How might Doctor Faustus have been performed in the theatres of Elizabethan England? This chapter seeks to re-examine the modern preoccupation with Faustus as metaphysical tragedy by think- ing about it in the cultural milieu from which it first arose. Interestingly, many of the issues raised by the place of the stage in early modern London still seem to resonate strangely within current critical debates about Doctor Faustus. At the start of the Reformation in England, the new Protestants celebrated players along with printers and preachers as crucial conduits through which the reform movement could spread its ideas.2 By the 1580s, though, some of the more strident elements within the now dominant Protestant Church of England orchestrated a series of pamphlet attacks on the London theatres as sinful places that directly conflicted with the efforts of the godly to win souls to religion.
    [Show full text]
  • A Brooding Eloquence: Amplification and Irony in Marlowe's Dramas. Jeffery Galle Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1991 A Brooding Eloquence: Amplification and Irony in Marlowe's Dramas. Jeffery Galle Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Galle, Jeffery, "A Brooding Eloquence: Amplification and Irony in Marlowe's Dramas." (1991). LSU Historical Dissertations and Theses. 5182. https://digitalcommons.lsu.edu/gradschool_disstheses/5182 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • RENAISANCE DESIRE, and DISOBEDIENCE: Eroticizlng
    L RENAISANCE DESIRE, AND DISOBEDIENCE: EROTICiZlNG HUMAN CURlOSiTY AND LEARNING IN DoCTOR FAUSTUS by Alexandre Da Silva Maia Department of English Literature MeCiIl University, Montreal Septem ber, 1998 A THESIS SUBMiTTED TO l'IFE FACULTY OF GRADUATE STUDIES AM) RESEARCH iN PARTiAL FULFiLMENT FOR TECE REQ- OF THE DEGREE OF MASTER OF ARTS COPYRiGBT ALEXANDRE DA SILVA MAU, 1998 National Libraiy Bibliothèque nationale IN ofCamda du Canada uisiins and Acquisitions et "9Bib kgraphic Services semices bibliographiques The author has pteda non- L'auteur a accordé une Licence non exclusive licence dowing the exclusive permettant a la National Libtary of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seil reproduire, prêter, di~bn'buerou copies of this thesis in microform, vendre des copies de cette thèse sous papa or electronic formats. la forme de microfiche/nim, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur consene la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substaatid extracts fiom it Ni la thèse ni des extraits substantieIs may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. cana!! ABSTRACT Focusing on the A-text (1604) version ofMarlowe's Doctor Fmiu, this study further assesses biographical information on the poet and intellectual currents of the Co~ter Reformation, so as to investigate the play's relation to emergent trends ofindividualism in the Renaissance, recovery of the pgan pst, and intellectual aspirations that could readily col1ide with orthodoxy.
    [Show full text]
  • THE TRAGICAL HISTORY of DOCTOR FAUSTUS (The “B” (Long) Text)
    ElizabethanDrama.org presents the Annotated Popular Edition of THE TRAGICAL HISTORY of DOCTOR FAUSTUS (the “B” (long) text) by Christopher Marlowe Written c. 1589-1592 Earliest Extant Edition: 1616 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2020. This annotated play may be freely copied and distributed. THE TRAGICAL HISTORY OF DOCTOR FAUSTUS By Christopher Marlowe Written c. 1589-1592 From the Quarto of 1616 aka the 'B' (long) Text DRAMATIS PERSONAE. INTRODUCTION to the PLAY Doctor John Faustus. Doctor Faustus is Christopher Marlowe's crowning Wagner, Servant to Faustus. achievement, and remains today the most popular and Valdes, Magician, Friend to Faustus. well-known play of the Elizabethan era outside of the Cornelius, Magician, Friend to Faustus. Shakespearean canon. The tale is of a theologian who sold his soul to the devil in return for the ability to perform Pope Adrian. sorcery and gain knowledge of the workings of the universe; Charles V, Emperor of Germany. but God's mercy is infinite, and Faustus, who repeatedly Raymond, King of Hungary. regrets his decision, could have returned to the fold of God Bruno, the Rival Pope. at any time, but was too blinded by his own pride to realize Cardinal of France. it. Cardinal of Padua. Archbishop of Rheims. OUR PLAY'S SOURCE Martino, a Knight. Frederick, a Knight. The text of the play is adapted primarily from the 1876 Benvolio, a Knight. edition of Marlowe's plays edited by Alexander Dyce, but with some of the wording from the 1616 quarto reinstated.
    [Show full text]
  • DOCTOR FAUSTUS by Christopher Marlowe
    DOCTOR FAUSTUS by Christopher Marlowe THE AUTHOR Christopher Marlowe (1564-1593) was born in Canterbury, the son of a shoemaker. He received a fine education there, then went on to Cambridge. He lived an adventurous life, including a stint as a spy in Elizabeth’s secret service. In the rough-and-tumble life of the London stage, he gained a reputation as a roisterer and freethinker. He was widely admired as a poet and playwright in his day, but his career was cut short when he was stabbed in the eye in a tavern brawl at the age of 29. His most notable plays include Tamburlaine (1587-88), The Jew of Malta (1588-89), and Doctor Faustus (1592-93). He is also remembered for introducing the use of blank verse to the stage - an idiom perfected by Shakespeare after Marlowe’s death. The Faust legend is based on an actual person. Johann Faust (1480-1540) was a contemporary of Luther. He was a noted skeptic and sought to duplicate the miracles of the Gospels by studying magic at the University of Cracow. It was said that he gained his magic powers by selling his soul to the devil. Luther and Melanchthon deplored the heretic, and Melanchthon is one of the sources of the story that Faust traveled in the company of the devil, who took the form of a dog. Within fifty years of his death, the first versions of the Faust legend appeared in print. The various versions of the story reflect the ages in which they were written; in each Faust sells his soul for what the age values - knowledge for Marlowe, experience for Goethe, and a pennant for the Washington Senators in Damn Yankees.
    [Show full text]
  • Faustian Finance in the Terrible Privacy of Maxwell Sim and Capital
    ‘We want what you have’: Faustian finance in The terrible privacy of Maxwell Sim and Capital Article (Published Version) Di Bernardo, Francesco (2013) ‘We want what you have’: Faustian finance in The terrible privacy of Maxwell Sim and Capital. Excursions, 4 (2). ISSN 2044-4095 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/47110/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk Excursions Volume 4, Issue 2 (November 2013) Proceedings: ‘Purity’ 11th-12th July 2013, University of Sussex, Brighton, UK Francesco Di Bernardo, “‘We want what you have’: Faustian Finance in The Terrible Privacy of Maxwell Sim and Capital” Excursions, vol.
    [Show full text]
  • DOCTOR FAUSTUS Also from Routledge: ROUTLEDGE · ENGLISH · TEXTS GENERAL EDITOR · JOHN DRAKAKIS WILLIAM BLAKE: Selected Poetry and Prose Ed
    DOCTOR FAUSTUS Also from Routledge: ROUTLEDGE · ENGLISH · TEXTS GENERAL EDITOR · JOHN DRAKAKIS WILLIAM BLAKE: Selected Poetry and Prose ed. David Punter EMILY BRONTË: Wuthering Heights ed. Heather Glen ROBERT BROWNING: Selected Poetry and Prose ed. Aidan Day BYRON: Selected Poetry and Prose ed. Norman Page GEOFFREY CHAUCER: The Tales of The Clerk and The Wife of Bath ed. Marion Wynne-Davies JOHN CLARE: Selected Poetry and Prose ed. Merryn and Raymond Williams JOSEPH CONRAD: Selected Literary Criticism and The Shadow-Line ed. Allan Ingram JOHN DONNE: Selected Poetry and Prose ed. T.W. and R.J.Craik GEORGE ELIOT: The Mill on the Floss ed. Sally Shuttleworth HENRY FIELDING: Joseph Andrews ed. Stephen Copley BENJONSON: The Alchemist ed. Peter Bement D.H.LAWRENCE: Selected Poetry and Non-Fictional Prose ed. John Lucas ANDREW MARVELL: Selected Poetry and Prose ed. Robert Wilcher JOHN MILTON: Selected Longer Poems and Prose ed. Tony Davies JOHN MILTON: Selected Shorter Poems and Prose ed. Tony Davies WILFRED OWEN: Selected Poetry and Prose ed. Jennifer Breen ALEXANDER POPE: Selected Poetry and Prose ed. Robin Sowerby SHELLEY: Selected Poetry and Prose ed. Alasdair Macrae SPENSER: Selected Writings ed. Elizabeth Porges Watson ALFRED, LORD TENNYSON: Selected Poetry ed. Donald Low OSCAR WILDE: The Importance of Being Earnest ed. Joseph Bristow VIRGINIA WOOLF: To The Lighthouse ed. Sandra Kemp WILLIAM WORDSWORTH: Selected Poetry and Prose ed. Philip Hobsbaum Doctor Faustus by Christopher Marlowe Edited by JOHN D.JUMP London and New York This edition first published 1965 by Methuen & Co. Ltd This edition published in the Taylor & Francis e-Library, 2005.
    [Show full text]
  • Avant Première Catalogue 2017
    Avant PreCATALOGUEmi ère 2017 UNITEL is one of the world's leading producers of classical music programmes for film, television, video and new media. Based on exclusive relationships with outstanding artists and institutions like Herbert von Karajan, Leonard Bernstein, the Salzburg Festival and many others, the UNITEL catalogue of more than 1700 titles presents some of the greatest achievements in the last half a century of classical music. Search the complete UNITEL catalogue online at www.unitel.de Front cover: Elīna Garanča in G. Donizetti's “La Favorite” / Photo: Wilfried Hösl UNITEL AVANT PREMIÈRE CATALOGUE 2017 Editorial Team: Konrad von Soden, Franziska Pascher Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: 31st of January 2017 ∙ © Unitel 2017 ∙ All Rights reserved FOR COPRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching / Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas
    [Show full text]
  • Interests of the Renaissance Reflected in the Character, Doctor Faustus 1
    INTERESTS OF THE RENAISSANCE REFLECTED IN THE CHARACTER, DOCTOR FAUSTUS 1 INTERESTS OF THE RENAISSANCE REFLECTED IN THE CHARACTER, DOCTOR FAUSTUS By Margaret O'Riley 1\ Bachelor of Arts Southeastern State Teachers College 1933 Submitted to the Department of English Oklahoma Agricultural and Mechanical College In Partial Fulfillment of the Requirements For the Degree or MASTER OF ARTS 193? .. .... : .... .·... ·... .. ' .~ ,. .. ,' .. .. .. ... .. .. ... .. .... : J '. '· "f r tr f'l1:r r r.:,,r, J.v I 1 I J,Lf 11~ A , , ; J I,. ~ r\. l'i.. }' 11 OCT 191,937 APPROVED: Dean, Graduate school 100626 iii Acknowledgement The writer wishes to express appre­ ciation to Mr. George H. White, Professor Nat P. Lawrence, and Do-etor Lawrence Babb for their advice and encouragement during the writing of this thesis . iv TABLE OF CONTENTS Chapter Page Introduction. 1 I. The Desire for Knowledge 3 II. The Rejection of Authority .. 11 III. The Lust for .Power ...•...• 18 IV. The Love of Physical Beauty • . 30 v. An Interest in the Supernatural . 36 Conclusion • • • • • • . 40 Bibliography .... 43 1 Introduction The theme of The Tragieal History of Doctor Faustus is that of a morality play~ (The contest between the forces of good and evil tor ma.n's immortal soul resembles the material used in the morality plays of the Middle Ages. ,\tJ'lii t: '' J t~~... The use of this medieval material in "t ~ Renaissance pl.ays. illustrates the influence of medieval dr_ama· on the drama of the Renaissance. Ren,aissanoe. drama coi:iveyed a meaning ' on two levels, the literal and the allegorical. It por- trayed life so that one may see what is actually there and infer from that what is potentially there.
    [Show full text]