Playwright and Minister

Total Page:16

File Type:pdf, Size:1020Kb

Playwright and Minister PLAYWRIGHT AND MAN OF GOD: RELIGION AND CONVENTION IN THE COMIC PLAYS OF JOHN MARSTON by Blagomir Georgiev Blagoev A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Blagomir Georgiev Blagoev (2010) PLAYWRIGHT AND MAN OF GOD: RELIGION AND CONVENTION IN THE COMIC PLAYS OF JOHN MARSTON Blagomir Georgiev Blagoev Doctor of Philosophy Graduate Department of English University of Toronto 2010 ABSTRACT John Marston’s literary legacy has inevitably existed in the larger-than-life shadows of his great contemporaries William Shakespeare and Ben Jonson. In the last two centuries, his works were hardly taken on their own terms but were perceived instead in overt or implicit comparison to Shakespeare’s or Jonson’s. As a result, Marston’s plays acquired the lasting but unfair image of haphazard concoctions whose cheap sensationalism and personal satire often got them in trouble with the authorities. This was the case until recently, especially with Marston’s comic drama. Following revisionist trends, this study sets out to restore some perspective: it offers a fresh reading of Marston’s comic plays and collaborations—Antonio and Mellida, What You Will, Jack Drum’s Entertainment, The Dutch Courtesan, The Malcontent, Parasitaster, Eastward Ho, and Histrio-Mastix—by pursuing a more nuanced contextualization with regard to religious context and archival evidence. The first central contention here is that instead of undermining political and religious authority, Marston’s comic drama can demonstrate consistent conformist and conservative affinities, which imply a seriously considered agenda. This study’s second main point is that the perceived failures of Marston’s comic plays—such as tragic ii elements, basic characterization, and sudden final reversals—can be plausibly read as deliberate effects, designed with this agenda in mind. The significance of this analysis lies in its interpretation of Marston’s comedies from the angle of religious and political conformism, which argues for an alternative identity for this playwright. The discussion opens with a presentation of Marston’s early satirical books as texts informed by a moderate Church of England Protestantism, yet coinciding at times with some of Calvin’s writings, and by a distrust of the individualistic tendencies of the English Presbyterian movement as well as the perceived literal ritualism of the old Catholic faith. On this basis, it then proceeds to reveal an identical philosophy behind Marston’s comic plays and collaborations. Antonio and Mellida and What You Will are interpreted to dramatize the human soul’s dependence on God’s favourable grace; Jack Drum’s Entertainment and The Dutch Courtesan to insist on the acknowledgement of God in romantic desire; The Malcontent and Parasitaster to present the dangers of the political immorality; and Eastward Ho and Histrio-Mastix to argue for the necessity of edifying occupations for the wayward human will. In its conclusion, this study further highlights Marston’s bias for political and religious individual obedience to established hierarchies and his suspicion of the early modern forces of change. The conformist identity that emerges from the present discussion is consistently supported by the archival evidence surviving from the playwright’s life. Thus, Marston’s comic drama can be interpreted as the result of carefully considered and skilfully implemented political and religious ideas that have been neglected so far. iii ACKNOWLEDGEMENTS Like its subject, my study of Marston’s comic drama has benefited from a variety of influences and contributions, for all of which I am sincerely grateful. Most importantly, however, this project would not have materialized were it not for the generous funding and employment opportunities I received through the PhD program at the Department of English, University of Toronto. With respect to the project’s completion, I am deeply indebted to my doctoral supervisors, Alexander Leggatt and Jill Levenson, for their infectious enthusiasm and knowledgeable guidance, and to my committee advisors, David Galbraith and Leslie Thomson, for their liberal help with the intricacies of early modern religion and the practicalities of early modern theatre. For invaluable reviews of the finished draft, I thank my external examiner, Helen Ostovich, and my departmental appraiser, Anne Lancashire. Of course, any errors that may remain here are entirely my own. Perhaps less obvious but nonetheless significant has been the inspiration I have derived from members of the wider academic community, both at the University of Toronto and beyond. Elizabeth Harvey helped me secure a travel grant to examine the Marston holdings at the British and Bodleian libraries, a research trip which eventually led to the first publication related to this study. For its appearance in print, I am also grateful to Helen Ostovich (again) and the anonymous readers at the Early Theatre journal. I owe yet further debts to Rob Carson for consultations on various philosophical concepts; to Tim Perry for his indispensable help with early modern Latin; and to Zubin Meer for his fascinating lectures on the politics of eighteenth-century literature. My knowledge of the much wider context of this project has likewise profited from seminars iv with Ian Lancashire, Randy McLeod, John Baird, and Brian Corman, whom I was fortunate to have as instructors, and from conversations with Chris Matusiak, Katie Larson, Chris Hicklin, Scott Scofield, Piers Brown, Chris Chapman, Igor Djordjevic, Lindy Ledohowsky, Zach Pickard, Chris Trigg, Alex Peat, Rebecca Tierny-Hynes, and Darryl Domingo, who were the fellow students one wishes for. As for my rather prodigal interest in English Renaissance Drama, I blame that on Evgenia Pantcheva, my MA supervisor at the University of Sofia, Bulgaria, and my director in a very unconventional student production of The Taming of the Shrew. In addition to my academic acknowledgements, I must also mention the thoughtful assistance I have received throughout my doctoral work from the administrative staff at the University of Toronto: particularly from Deidre Lynch, Tanuja Persaud, Gillian Northgrave, Cecilia Martino, and Dona Sabo at the Department of English, as well as from Arianna Capotorto and (again) Brian Corman at the School of Graduate Studies. I am also thankful to Rebecca Spagnolo, Assistant Dean of Graduate House, and Beverley Lewis, Examinations Supervisor at the Faculty of Arts and Science, for a number of timely non-academic work positions. Finally, I would like to thank my father, Georgi Georgiev, and my mother, Violina Metodieva, for their unconditional support through all my years of school. I must also mention an inspiring journey across the United States, courtesy of Alice Humphreys and Douglas Humphreys of Great Bend, KS, which eventually secured my admission to the Program in English and American Studies at the University of Sofia. Further thanks go to my brother, Drago Blagoev, and to my good friends, Rob Vitale, Igor Valentovitch, v Nikolai Naidenov, and John Geary for some choice comic relief during my studies of comedy. Yet my greatest personal debt of all remains to my partner, Julia Roebothan, whose kindness and patience know no bounds. vi TABLE OF CONTENTS ABSTRACT....................................................................................................................... ii ACKNOWLEDGEMENTS ............................................................................................ iv NOTE ................................................................................................................................. 1 INTRODUCTION............................................................................................................. 2 Premise and Scope ................................................................................................ 2 Critical Review...................................................................................................... 8 Religion in Marston’s Poetry ............................................................................. 12 Marston’s Religious Context.............................................................................. 27 The New Comedy and Morality Modes: Tragedy, Irony, and Religion ........ 38 Marston’s Comic Plays....................................................................................... 46 CHAPTER 1: The Faculty of the Soul.......................................................................... 53 Antonio and Mellida (1599-1600) ....................................................................... 53 What You Will (1601) .......................................................................................... 71 CHAPTER 2: Romantic Relationships......................................................................... 97 Jack Drum’s Entertainment (1600) .................................................................... 97 The Dutch Courtesan (1603-1604).................................................................... 116 CHAPTER 3: Political Rulers ..................................................................................... 146 The Malcontent (1600-1604) ............................................................................. 146 Parasitaster, or the Fawn (1604-1606).............................................................. 169 CHAPTER 4: Moral Education .................................................................................
Recommended publications
  • Ottawa (Ontario, Canada) PARTNER MANAGED Reseller Online Auction - Armstrong Street
    09/25/21 03:53:35 Ottawa (Ontario, Canada) PARTNER MANAGED Reseller Online Auction - Armstrong Street Auction Opens: Wed, Apr 15 5:00pm ET Auction Closes: Fri, Apr 24 8:00pm ET Lot Title Lot Title 0001 Antique Sessions brand Gingerbread Clock, 0029 lot of 6 Amazing Spiderman comics, high working grades 0002 NHL Charity Golf jersey, hand signed by 0030 lot of 8 Batman comics, high grades players, Hawerchuk and Simpson 0031 lot of 7 Captain America comics, high grades 0003 G.I. Joe 12" figure with Safari outfit kit 0032 lot of 8 Daredevil comics, high grades 0004 G.I. Joe Desert Soldier 12 inch figure 0033 lot of 8 Batman in Detective comics, high 0005 G.I. Joe Virus Pandemic Fighter, 12 inch figure grades 0006 Patrick Roy, Habs, hand signed card 0034 lot of 6 Mickey Mouse comics, 1970s 0007 Thomas Chabot, Senators, hand signed card 0035 lot of 8 Superman comics, high grades 0008 wooden topper sign for Erie Digger claw 0036 lot of 8 Avengers comics, high grades gaming machine 0037 diecast Corgi Batmobile in box 0009 1970s Viewmaster with reels, box and 0038 lot of 3 early Story of Our Nations books, 1891 paperwork 0039 2nd lot of 3 early Story of Our Nations books, 0010 collection of 28 old metal soldier figurines 1891 0011 complete set of 12 Nascar Matchbooks 0040 huge lot of over 400 Magic cards 0012 Whiz brand Commando rare can, 1940s 0041 2nd huge lot of over 400 Magic cards 0013 original World War I canteen, British issue 0042 lot of over 300 Pokemon cards 0014 lot of 6 Stereoview cards, early 1900s 0043 sealed metal box of Star Wars
    [Show full text]
  • “What Are Marines For?” the United States Marine Corps
    “WHAT ARE MARINES FOR?” THE UNITED STATES MARINE CORPS IN THE CIVIL WAR ERA A Dissertation by MICHAEL EDWARD KRIVDO Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2011 Major Subject: History “What Are Marines For?” The United States Marine Corps in the Civil War Era Copyright 2011 Michael Edward Krivdo “WHAT ARE MARINES FOR?” THE UNITED STATES MARINE CORPS IN THE CIVIL WAR ERA A Dissertation by MICHAEL EDWARD KRIVDO Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Chair of Committee, Joseph G. Dawson, III Committee Members, R. J. Q. Adams James C. Bradford Peter J. Hugill David Vaught Head of Department, Walter L. Buenger May 2011 Major Subject: History iii ABSTRACT “What Are Marines For?” The United States Marine Corps in the Civil War Era. (May 2011) Michael E. Krivdo, B.A., Texas A&M University; M.A., Texas A&M University Chair of Advisory Committee: Dr. Joseph G. Dawson, III This dissertation provides analysis on several areas of study related to the history of the United States Marine Corps in the Civil War Era. One element scrutinizes the efforts of Commandant Archibald Henderson to transform the Corps into a more nimble and professional organization. Henderson's initiatives are placed within the framework of the several fundamental changes that the U.S. Navy was undergoing as it worked to experiment with, acquire, and incorporate new naval technologies into its own operational concept.
    [Show full text]
  • The Malcontent Malevoles Chamber
    A Digital Anthology of Early Modern English Drama emed.folger.edu Discover over four hundred early modern English plays that were professionally performed in London between 1576 and 1642. Browse plays written by Shakespeare’s contemporaries; explore the repertoires of London’s professional companies; and download plays for reading and research. This documentary edition has been edited to provide an accurate and transparent transcription of a single copy of the earliest surviving print edition of this play. Further material, including editorial policy and XML files of the play, is available on the EMED website. EMED texts are edited and encoded by Meaghan Brown, Michael Poston, and Elizabeth Williamson, and build on work done by the EEBO-TCP and the Shakespeare His Contemporaries project. This project is funded by a Humanities Collections and Reference Resources grant from the NEH’s Division of Preservation and Access. Plays distributed under a Creative Commons Attribution-ShareAlike 4.0 International License. img: 1­a ismigg: :[ N1­/bA] sig: A2r ln 0001 THE ln 0002 MALCONTENT. ln 0003 By John Marston. ln 0004 1604. ln 0005 Printed at London by V. S. for William Aspley, ln 0006 and are to be sold at his shop in Paul’s ln 0007 Churchyard. img: 2­a ismigg: :A 22­vb sig: A3r ln 0001 BENJAMINO JONSONIO ln 0002 POETAE ln 0003 ELEGANTISSIMO ln 0004 GRAVISSIMO ln 0005 AMICO ln 0006 SUO CANDIDO ET CORDATO, ln 0007 JOHANNES MARSTON ln 0008 MUSARUM ALUMNUS ln 0009 ASPERAM HANC SUAM THALIAM ln 0010 D. D. img: 3­a sig: A3v ln 0001 To the Reader.
    [Show full text]
  • Book Review: TF Wharton (Ed). the Drama of John Marston. Cambridge
    112 Book Reviews unfair to criticize a researcher too harshly for a following a pre-existing set of selection criteria. At the same time it is reasonable to expect that a declared set of criteria should be rigorously maintained, and that the intellectual basis of those criteria should be clearly stated and take some account of the historical reality of the period under examination. The ambitious task undertaken by the REED project is to be applauded, and it is to be regretted that the present volume falls somewhat short of the standards set by the project as a whole. david hickman T.F. Wharton (ed). The Drama of John Marston: Critical Re-Visions. Cam- bridge: Cambridge University Press, 2000. Pp xiii, 233. For a dramatist with at least three canonically important works (The Dutch Courtesan, The Malcontent, and Antonio’s Revenge) contemporary critics have been especially chary of addressing John Marston’s plays. Of those three works, one (Antonio’s Revenge) finds general mention only as a spectacularized and stylized foil to Hamlet.1 Indeed, only a single work – The Dutch Courtesan – today receives attention approaching any degree of regularity: Susan Baker, Donna Hamilton, and Jean Howard have each written outstanding material- ist/feminist appraisals.2 This continuing paucity of critical regard is especially surprising given the astonishing generic range and inventiveness of Marston’s plays as well as their incisive representations of a particularly volatile period in early modern culture. Marston collaborated brilliantly with some of the most distinguished dramatists of the period (Ben Jonson and George Chapman on Eastward Ho!; John Webster on additions to The Malcontent) and also mis- chievously burlesqued the genres they themselves defined.
    [Show full text]
  • Object Like Theirs Is Self-Perpetuation
    Lehigh Preserve Institutional Repository Mapping significance : geographical musings on the three "hoe" plays Blaisdell, Theodore A. 1997 Find more at https://preserve.lib.lehigh.edu/ This document is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion by an authorized administrator of Lehigh Preserve. For more information, please contact preserve@lehigh.edu. Blaisdell, Ted , Mapping Significance­ Geographical Musings on the Three "Hoe" Plays. June 1, 1997 ' Mapping Significance . Geographical Musings on the three "Hoe" Plays by Ted Blaisdell J A Thesis Presented to the Graduate and Research Committee of Lehigh University in Candid.acy for the Degree of Master ofArts in English Lehigh University April, 1997 TABLE OF CONTENTS ... Abstract Page 1 Text -- "Mapping Significance" Page 2 Bibliography Page 39 11 Abstract for "Mapping Significance" This study examines the use oftopography as a stylistic device in the Jacobean City Comedies. Beginningwith an examination ofthe critical history of this device and its relevance to current New Historical approaches to literary criticism, the paper then focuses specific attention on Westward Hoe, Eastward Hoe, and Northward Hoe, three collaborative City Comedies whose geographic· sensitivity with respect to the London river trade is revealed in their titles. The authors' employed the language ofposition and direction to provide relevance and depth to their plots and their characterizations. The authors portray London as a hub ofvirtue surrounded by the relative "viciousness" ofthe Suburbs and the Liberties. This characterization ofLondon as the center ofvirtue rests on a set of values valorizing the capitalistic principles offree trade and private property.
    [Show full text]
  • The Moral Basis of Family Relationships in the Plays of Shakespeare and His Contemporaries: a Study in Renaissance Ideas
    The Moral Basis of Family Relationships in the plays of Shakespeare and his Contemporaries: a Study in Renaissance Ideas. A submission for the degree of doctor of philosophy by Stephen David Collins. The Department of History of The University of York. June, 2016. ABSTRACT. Families transact their relationships in a number of ways. Alongside and in tension with the emotional and practical dealings of family life are factors of an essentially moral nature such as loyalty, gratitude, obedience, and altruism. Morality depends on ideas about how one should behave, so that, for example, deciding whether or not to save a brother's life by going to bed with his judge involves an ethical accountancy drawing on ideas of right and wrong. It is such ideas that are the focus of this study. It seeks to recover some of ethical assumptions which were in circulation in early modern England and which inform the plays of the period. A number of plays which dramatise family relationships are analysed from the imagined perspectives of original audiences whose intellectual and moral worlds are explored through specific dramatic situations. Plays are discussed as far as possible in terms of their language and plots, rather than of character, and the study is eclectic in its use of sources, though drawing largely on the extensive didactic and polemical writing on the family surviving from the period. Three aspects of family relationships are discussed: first, the shifting one between parents and children, second, that between siblings, and, third, one version of marriage, that of the remarriage of the bereaved.
    [Show full text]
  • A Poet's Fable
    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. ) 1 ( A POET’S FABLE EARLY IN 1529 a London lawyer, Simon Fish, anonymously pub- lished a tract, addressed to Henry VIII, called A Supplication for the Beggars. The tract was modest in length but explosive in content: Fish wrote on behalf of the homeless, desperate English men and women, “needy, impotent, blind, lame and sick” who pleaded for spare change on the streets of every city and town in the realm.1 These wretches, “on whom scarcely for horror any eye dare look,” have become so numerous that private charity can no longer sus- tain them, and they are dying of hunger.2 Their plight, in Fish’s account, is directly linked to the pestiferous spread throughout the realm of beggars of a different kind: bishops, abbots, priors, deacons, archdeacons, suffragans, priests, monks, canons, friars, pardoners, and summoners. Simon Fish had already given a foretaste of his anticlerical senti- ments and his satirical gifts. In his first year as a law student at Gray’s Inn, according to John Foxe, one of Fish’s mates, a certain Mr. Roo, had written a play holding Cardinal Wolsey up to ridicule. No one dared to take on the part of Wolsey until Simon Fish came forward and offered to do so. The performance must have been impressive: it so enraged the cardinal that Fish was forced “the same night that this Tragedy was played” to flee to the Low Coun- tries to escape arrest.3 There he evidently met the exile William Tyndale, whose new English translation of the Bible, inspired by Luther, he subsequently helped to circulate.
    [Show full text]
  • DISSERTATION-Submission Reformatted
    The Dilemma of Obedience: Persecution, Dissimulation, and Memory in Early Modern England, 1553-1603 By Robert Lee Harkins A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Ethan Shagan, Chair Professor Jonathan Sheehan Professor David Bates Fall 2013 © Robert Lee Harkins 2013 All Rights Reserved 1 Abstract The Dilemma of Obedience: Persecution, Dissimulation, and Memory in Early Modern England, 1553-1603 by Robert Lee Harkins Doctor of Philosophy in History University of California, Berkeley Professor Ethan Shagan, Chair This study examines the problem of religious and political obedience in early modern England. Drawing upon extensive manuscript research, it focuses on the reign of Mary I (1553-1558), when the official return to Roman Catholicism was accompanied by the prosecution of Protestants for heresy, and the reign of Elizabeth I (1558-1603), when the state religion again shifted to Protestantism. I argue that the cognitive dissonance created by these seesaw changes of official doctrine necessitated a society in which religious mutability became standard operating procedure. For most early modern men and women it was impossible to navigate between the competing and contradictory dictates of Tudor religion and politics without conforming, dissimulating, or changing important points of conscience and belief. Although early modern theologians and polemicists widely declared religious conformists to be shameless apostates, when we examine specific cases in context it becomes apparent that most individuals found ways to positively rationalize and justify their respective actions. This fraught history continued to have long-term effects on England’s religious, political, and intellectual culture.
    [Show full text]
  • 2009 Land Management Plan
    2009 LAND MANAGEMENT PLAN (Updated Annual Harvest Plan -2014) Itasca County Land Department 1177 LaPrairie Avenue Grand Rapids, MN 55744-3322 218-327-2855 ● Fax: 218-327-4160 LAND MANAGEMENT PLAN Itasca County Land Department Acknowledgements This Land Management Plan was produced by Itasca County Land Department employees Garrett Ous, Dave Marshall, Michael Gibbons, Adam Olson, Bob Scheierl, Roger Clark, Kory Cease, Steve Aysta, Tim Stocker, Perry Leone, Wayne Perreault, Blair Carlson, Loren Eide, Bob Rother, Andrew Brown, Del Inkman, Darlene Brown and Meg Muller. Thank you to all the citizens for their sincere input and review during the public involvement process. And thank you to Itasca County Commissioners Lori Dowling, Karen Burthwick, Rusty Eichorn, Catherine McLynn and Mark Mandich for their vision and final approval of this document. Foreword This land management plan is designed for providing vision and direction to guide strategic and operational programs of the Land Department. That vision and direction reflects a long standing connection with local economic, educational and social programs. The Land Department is committed to ensuring that economic benefits and environmental integrity are available to both present and future generations. That will be accomplished through actively managing county land and forests for a balance of benefits to the citizens and for providing them with a sustained supply of quality products and services. The Department will apply quality forestland stewardship practices, employ modern technology and information, and partner with other forest organizations to provide citizens with those quality products and services. ________________________________ Garrett Ous September, 2009 Itasca County Land Commissioner 1177 LaPrairie Avenue Grand Rapids, MN 55744-3322 218-327-2855 ● Fax: 218-327-4160 ICLD - LMP Section i., page 1 of 3 Itasca County Land Department Land Management Plan Table of Contents i.
    [Show full text]
  • MARSTON (HENRY and FAMILY) PAPERS Mss
    See also UPA Microfilm: MF 5735, Series B, Reel 13 MF 6061, Series B, Part 2, Reel 14 MARSTON (HENRY AND FAMILY) PAPERS Mss. 624 Inventory Compiled by Tara Zachary 1997 Louisiana and Lower Mississippi Valley Collections Special Collections, Hill Memorial Library Louisiana State University Libraries Baton Rouge, Louisiana Revised 2009, 2020 MARSTON (HENRY AND FAMILY) PAPERS Mss. 624 1818-1938 LSU LIBRARIES SPECIAL COLLECTIONS CONTENTS OF INVENTORY SUMMARY .................................................................................................................................... 3 BIOGRAPHICAL/HISTORICAL NOTE ...................................................................................... 4 SCOPE AND CONTENT NOTE ................................................................................................... 6 BOX DESCRIPTIONS ................................................................................................................... 8 DIARY DESCRIPTIONS ............................................................................................................. 11 INDEX TERMS ............................................................................................................................ 12 CONTAINER LIST ...................................................................................................................... 14 Use of Manuscript Materials. If you wish to examine items in the manuscript group, please place a request via the Special Collections Request System. Consult the Container List for
    [Show full text]
  • Spring 2008 Gustavus Quarterly
    01 Spring 08 masters.3:Winter 03-04 MASTERS.1 2/12/08 9:57 AM Page 1 THE GustavusGustavus Adolphus College Spring 2008 QUARTERLY THE GUSTAVUS SYMPHONY ORCHESTRA IN CHINA ■ “Building Bridges” Diversity Conference ■ Alumni Fund Report ■ Sports Camps 01 Spring 08 masters.3:Winter 03-04 MASTERS.1 2/12/08 12:56 PM Page 2 G THE GUSTAVUS QUARTERLY Spring 2008 • Vol. LXIV, No. 2 Managing Editor Steven L. Waldhauser ’70 waldo@gustavus.edu Alumni Editors Randall M. Stuckey ’83 rstuckey@gustavus.edu Barbara Larson Taylor ’93 btaylor@gustavus.edu Design Sharon Stevenson sstevens@gustavus.edu Contributing Writers Kari Clark ’91, Laurie Dietrich’80, Bruce Gray ’61, Tim Kennedy ’82, Barb Larson Taylor ’93, Donald Myers ’83, Tony Pasiak, Sharon Stevenson, Matt Thomas ’00 Contributing Photographers Anders Björling ’58, Brian Fowler, Sharon Stevenson, Stacia Vogel, Stan Waldhauser ’71 Articles and opinions presented in this magazine do not necessarily reflect the views of the editors or official policies of the College or its board of trustees. The Gustavus Quarterly (USPS 227-580) is published four times annually, in February, May, August, and November, by Gustavus Adolphus College, St. Peter, Minn. Periodicals postage is paid at St. Peter, MN 56082, and additional mailing offices. It is mailed free of charge to alumni and friends of the College. Circulation is approximately 35,000. Postmaster: Send address changes to The Gustavus Quarterly, Office of Alumni Relations, Gustavus Adolphus College, 800 W. College Ave., St. Peter, MN 56082-1498. St. Peter, Minnesota 507-933-8000 ■ gustavus.edu Chair, Board of Trustees James H.
    [Show full text]
  • Religious Printed Images in Elizabethan England
    Picturing the Invisible: Religious Printed Images in Elizabethan England Submitted by David Jonathan Davis to the University of Exeter as a thesis for the degree of DOCTOR OF PHILOSOPHY in HISTORY This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis/thesis* which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (signature) ......................................................................................... 2 Abstract This thesis analyses the culture of printed images during the Elizabethan period, particularly those images of a religious nature. Focusing on images which depict invisible beings (i.e. angels, God, demons etc.), the thesis addresses the assumption that Protestant England all but completely eradicated religious visual imagery from society. Examining images that were first created and printed in Elizabethan England as well as older images which had been recycled from earlier texts and others imported from Europe, the research offers an analysis of Protestant printed imagery between 1558 and 1603. Questions of how images were read, altered, augmented, copied and transmitted across time and space have been posed. What was depicted and how? How were religious images used? What was their understood role in early modern print culture? How did Protestants distinguish between church images to be destroyed and printed images to be read? In this, the images have been historically contextualised within both the theological and cultural milieu of Calvinist theology, the growing international marketplace of print and early modern English society.
    [Show full text]