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The Role of Religions and Cults in the Plays of Thomas Middleton. Deborah Rees Griffitts Louisiana State University and Agricultural & Mechanical College

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The Role of Religions and Cults in the Plays of Thomas Middleton. Deborah Rees Griffitts Louisiana State University and Agricultural & Mechanical College Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1984 The Role of Religions and Cults in the Plays of Thomas Middleton. Deborah Rees Griffitts Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Griffitts,e D borah Rees, "The Role of Religions and Cults in the Plays of Thomas Middleton." (1984). LSU Historical Dissertations and Theses. 3956. https://digitalcommons.lsu.edu/gradschool_disstheses/3956 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 reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available copy has been filmed. University Micrdffilms International 300 N. Zeeb Road Ann Arbor, Ml 48106 f 8425871 Griffitts, Deborah Rees THE ROLE OF RELIGIONS AND CULTS IN THE PLAYS OF THOMAS MIDDLETON The Louisiana State University and Agricultural and Mechanical Col.Ph.D. 1984 University Microfilms International300 N. Zeeb Road, Ann Arbor, Ml 48106 Copyright 1984 by Griffitts, Deborah Rees All Rights Reserved THE ROLE OF RELIGIONS AND CULTS IN THE PLAYS OF THOMAS MIDDLETON 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 i n The Department of Speech Communication, Theatre, and Communication Disorders by Deborah R. Griffitts B.S., University of Tennessee, 1972 M.A.C.T., University of Tennessee, 1975 May 1984 © 1984 DEBORAH REES GRIFFITTS All Rights Reserved ACKNOWLEDGEMENTS I would like to express my appreciation to Professor Bill Harbin for his perceptive, but gentle criticism which guided me throughout this study. I also gratefully acknowledge my mother, Marynell Griffitts and my late father, George Griffitts, who, from the beginning, always were there to help "solve problems;" my friends and family members, whose prayers and enthusiastic support buoyed my spirit in the most despairing moments; my matchless husband, Michael J. Hining, who cheerfully cooked, cleaned, bathed babies, and gave up fishing trips for the sake of this project; and especially, my children, Mary Elizabeth and George, who sacrificed the most. CONTENTS ACKNOWLEDGEMENTS.........................................................................................................ii ABSTRACT..............................................................................................................................iv INTRODUCTION.................................................................................................................. 1 CHAPTER ONE:........THE RELIGIOUS TRADITION...................................... 8 CHAPTER TWO:.........HYPOCRITES AND HERETICS................................................42 The Family of Love The Puri tan A Chaste Maid i n Cheapside Kengist, King of Kent or The Mayor of Queenborough A Game at Chess CHAPTER THREE: HONOR AND IDOLATRY................................................98 A Fair Quarrel The Second Maiden 1s Tragedy The Changeling CHAPTER FOUR: DIVINE PASSION..............................................155 The Family of Love The Changeling The Second Maiden 1s Tragedy CONCLUSION.......................................................................................................................207 BIBLIOGRAPHY..................................................................................................................217 VITA.......................................................................................................................................233 I i i ABSTRACT Most of Thomas Middleton's works, as well as his personal background, indicate that his theological inclin­ ations were Calvinistic. Many of his plays display his regard for "protestant" morality or his contempt for Roman Catholics and fringe elements of the Reform movement. His early and middle plays also satirize Puritans, who, although basically loyal subjects, were offensive to both Elizabeth I and James I because they urged greater reforms within the orthodox Church and criticized practices of which both monarchs were fond. During the reign of James, Puritans, largely from the middle class, became particularly unpopular among the gentry and courtier classes. Since Middleton associated with these upper classes, he joined in the chorus against Puritans during the early years of James' reign, accusing them of greed, licentiousness, hypocrisy, and even heresy. However, as the king's influ­ ence caused the official Church to move away from Calvinism and toward Arminianism, Middleton's attitudes toward Puritans softened. Already in agreement with their basic religious and moral values, he began to sympathize with bourgeoise Puritans, particularly after James attempted an alliance with England's enemy, Catholic Spain, and after many prominent members of the Puritan faction began to support him and his work. While few of Middleton's plays straightforwardly glorify the Genevan ideal, those which address "deviant" religious philosophies and cults illustrate his Calvin­ istic tendencies. The plays in which the protagonists view the honor code or romantic love as religious ideals reveal that Middleton's sympathy lay with characters who remained faithful to Christian principles while simultaneously paying tribute to the honor or romantic precepts. The dramatist never championed those who allowed their dedication to those ethics to supercede Christian spirit­ uality. Rather, he protrayed them as immoral, blind, or depraved, and they unfailingly meet their doom because they have ignored the first commandment. v INTRODUCTION The purpose of this study is to determine Thomas Middleton's attitudes toward the various religious philos­ ophies prevalent in London during the late Elizabethan and the Jacobean eras. Selected plays are examined to ascer­ tain what he held dear and what he scorned. Included also is a brief background of orthodox Anglicanism as well as unorthodox religious philosophies: Roman Catholicism, Sectarianism, and the honor code and courtly love tradition which had been elevated t o forms of worship during the medieval period. An history outlining England's social and political traditions also becomes important here, because they were so intrinsically related to religion that it is impossible to separate fully the ideas they incorporated. Middleton's religious beliefs are disputed by critics more than those of any other Renaissance playwright. He has been labeled Puritan, anti-Puri tan, Anglican, and indifferent. Bertil Johansson wrote, "Nowhere in Middleton's works do we find an expression of his personal religious 2 beliefs." Helene Bullock agreed, saying that if his plays did express any moral or religious intent, it was "no more 3 than a pretense, written to please the tastes of the time." 1 2 Others, however, call him religious. Charles A. Hallett says he is a "religious man whose works were profoundly moral 4 and Christian." Irving Ribner was among the first to 5 recognize that Middleton wrote from a "Calvinistic bias," and Margot Heinemann, one of the most recent critics who has researched his religious ties, went so far as to say he was, in fact, a bona fide Puritan. Many studies seek out the religious ideas in Middleton plays, but generally they ascertain his moral stance more than his religious beliefs.
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