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Doctor Faustus and the Royalist Marlowe” Meghan C

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Doctor Faustus and the Royalist Marlowe” Meghan C EDITORS at Indiana University– at Mount St. Mary’s University Purdue University Fort Wayne Emmitsburg, Maryland M. L. Stapleton, Editor Sarah K. Scott, Associate Editor Cathleen M. Carosella, Managing Editor Kendra Morris, Publication Assistant BOARD OF ADVISORS Hardin Aasand, Indiana University–Purdue University, Fort Wayne; David Bevington, University of Chicago; Douglas Bruster, University of Texas, Austin; Dympna Callaghan, Syracuse University; Patrick Cheney, Pennsylvania State University; Sara Deats, University of South Florida; J. A. Downie, Goldsmiths College, University of London; Lisa M. Hopkins, Sheffield Hallam University; Heather James, University of Southern California; Roslyn L. Knutson, University of Arkansas, Little Rock; Robert A. Logan, University of Hartford; Ruth Lunney, University of Newcastle (Australia); Laurie Maguire, Magdalen College, Oxford University; Lawrence Manley, Yale University; Kirk Melnikoff, University of North Carolina at Charlotte; Paul Menzer, Mary Baldwin College; John Parker, University of Virginia; Eric Rasmussen, University of Nevada, Reno; David Riggs, Stanford University; John P. Rumrich, University of Texas, Austin; Carol Chillington Rutter, University of Warwick; Paul Werstine, King's College, University of Western Ontario; Charles Whitney, University of Nevada, Las Vegas Volume 1 2011 MARLOWE STUDIES: AN ANNUAL 1 (2011) Table of Contents 1 “Fore-words” M. L. Stapleton and Sarah K. Scott 5 “Marlowe’s Minions: Sodomitical Politics in Edward II and The Massacre at Paris” Jeffrey Rufo, Trinity University 25 “The Publication Date of Marlowe’s Massacre at Paris, with a Note on the Collier Leaf” R. Carter Hailey, College of William and Mary 41 “The 1663 Doctor Faustus and the Royalist Marlowe” Meghan C. Andrews, University of Texas, Austin 59 “‘Cursèd Necromancy’: Marlowe’s Faustus as Anti-Catholic Satire” Barbara Parker, William Paterson University 79 “A Storm Brewing: Inspirations for The Tempest in Marlowe and Jonson” James Biester, Loyola University of Chicago 99 “Mars or Gorgon? Tamburlaine and Henry V” Sara Munson Deats, University of South Florida 125 “Playing with Matches: Christopher Marlowe’s Incendiary Imagination” Lisa Hopkins, Sheffield Hallam University 141 “Christopher Marlowe and the Verse/Prose Bilingual System” Douglas Bruster, University of Texas, Austin 167 “Alleyn Resurrected” Jeremy Lopez, University of Toronto 181 “Shades of Marlowe” Paul Menzer, Mary Baldwin College 193 “Marlowe Studies, 2000-2009: A Bibliography” Bruce Brandt, South Dakota State University Marlowe Studies: An Annual 1 (2011) Abbreviations for Christopher Marlowe’s Works AOE All Ovid’s Elegies COE Certain of Ovid’s Elegies Dido Dido, Queen of Carthage DFa Doctor Faustus, A-text DFb Doctor Faustus, B-text E2 Edward II HL Hero and Leander JM The Jew of Malta Luc Lucan’s First Book Man Manwood Elegy / Epitaph MP The Massacre at Paris PS “The Passionate Shepherd to His Love” 1Tam Tamburlaine the Great, Part 1 2Tam Tamburlaine the Great, Part 2 Marlowe Studies: An Annual 1 (2011) M. L. STAPLETON AND SARAH K. SCOTT Fore-words We are proud to launch a historic enterprise, the first serial academic publication devoted exclusively to the works of Christopher Marlowe. We solicit essays on scholarly topics directly related to the author and his role in the literary culture of his time. Especially welcome are studies of the plays and poetry; their sources; relations to genre; lines of influence; classical, medieval, and continental contexts; performance and theater history; textual studies; and Marlowe’s professional milieu and place in early modern English poetry, drama, and culture. We offer essays that represent a cross-section of Marlowe studies as they currently stand, and although they are not all devoted to any one theme, they bear relationships to one another that suggest the ensuing organizing principle. Jeffrey Rufo’s “Marlowe’s Minions” analyzes the politics of Edward II and The Massacre at Paris, exploring critical responses to the issue of same-sex relationships in both plays. R. Carter Hailey’s “The Publication Date of Marlowe’s Massacre ” provides a natural link, although the subject is quite different. This bibliographical study explores the specialized subject of paper types in ascertaining a fact that has long eluded scholars: which year the undated quarto of this play was actually published. Our next essay is about the world of books and publishing as well. In “The 1663 Doctor Faustus and the Royalist Marlowe,” Meghan C. Andrews speculates that the play’s next publication after the B- text of 1616, in the second half of the seventeenth century during the early years of the Restoration, was politically informed and motivated. The next essay is also on Faustus, Marlowe’s most studied and performed work. Barbara Parker’s “‘Cursèd Necromancy’” suggests that the play’s obsession with necro- mancy reflects standard Protestant polemic in the sixteenth 2 Fore-words century that Catholicism was itself demonic, its rituals shamanistic, and its practitioners actually purveyors of magic, divorced from the Word. The next pair of essays explores intertextual connections between Marlowe and William Shake- speare (and, to some extent, Ben Jonson). James Biester’s “A Storm Brewing” reinvigorates the idea of a relationship between Faustus and The Tempest, and Sara Munson Deats’s “Mars or Gorgon?” explores the possible influence of Tamburlaine on Henry V. The next two pieces explore and even catalogue tendencies and motifs in the corpus: Lisa Hopkins’s “Playing with Matches” examines Marlowe’s consistent and frequent use of the motif of fire in the plays and poetry, and Douglas Bruster’s “Christopher Marlowe and the Verse/Prose Bilingual System” iterates and categorizes the relatively few instances of prose in the plays and finds symmetries and confluences in them. The theater historians Jeremy Lopez and Paul Menzer explore the known facts about the playing company that produced Faustus, Tamburlaine, and their fellows, the Admiral’s, and discuss the acting styles of its principal actor and his successors in “Alleyn Resurrected” and “Shades of Marlowe,” respectively. Finally, Bruce Brandt has created a valuable tool for those who wish to engage in serious scholarship about Marlowe, an annotated bibliography that lists the most significant studies of the works published between 2000 and 2009 and provides brief abstracts of them. We are, again, very pleased to contribute these fine studies to the canon of Marlowe criticism. We wish to offer special thanks to the distinguished members of our editorial board, who agreed to serve by evaluating manuscripts for publication and by lending their names to our enterprise. We owe a debt of gratitude to our contributors, who wrote the essays, submitted them in a timely fashion, and endured our editorial commentary and revised accordingly without complaint. We also offer special thanks to three people at our sponsoring institution, Indiana University–Purdue University, Fort Wayne: Carl Drummond, Dean of the College of Arts and Sciences, who encouraged us to found a journal and generously offered his financial support; Kendra Morris, who engaged in copyediting of the essays and who helped create, produce, and distribute advertising and other types of publicity for Marlowe Studies: An Annual; and our managing editor, Cathleen M. Carosella, whose knowledge of publication, scholar- ship, copyediting, journals, libraries, printers, and the financial M. L. Stapleton and Sarah K. Scott 3 realities of a venture such as ours truly makes this venture possible and will surely contribute to its future success. M. L. Stapleton Indiana University–Purdue University, Fort Wayne Fort Wayne, Indiana Sarah K. Scott Mount St. Mary’s University Emmitsburg, Maryland Marlowe Studies: An Annual 1 (2011) JEFFREY RUFO Marlowe’s Minions: Sodomitical Politics in Edward II and The Massacre at Paris Christopher Marlowe’s minions are complex, ambiguous figures that warrant scrutiny because they demonstrate something particular about the intersection between politics and same-sex desire in his plays. Although his historical tragedies engage early modern politics in a meaningful way, he does not elaborate or propagate his culture’s normative connection between homo- sexuality, immorality, and political disorder.1 Therefore, his kings who enjoy relationships with their male favorites in Edward II and The Massacre at Paris are not weak and unworthy of kingship. Instead, Edward’s lover Gaveston and Henry’s infamous “lovely minions” (MP, 17.11) emerge as vital players in a tragic world where politics trumps eros as a means of explaining the relation- ship of the past to the present.2 Even though Gaveston and _______ 1. Alan Bray posits such a connection. To him, homosexuality was politically subversive, since it “was not part of the created order at all; it was part of its dissolution.” Homosexuality in Renaissance England (New York: Gay Men’s Press, 1982), 25. 2. All references to Massacre follow The Complete Plays, ed. Frank Romany and Robert Lindsey (London: Penguin, 2003), 507–60. All quotations from Edward are taken from Edward the Second, ed. Martin Wiggins and Robert Lindsey (New York: Norton, 1997). This essay engages my predecessors who acknowledge the minion’s centrality and argue for the importance of the sodomitical in Edward and Massacre. See Gregory W. Bredbeck, Sodomy and Interpretation: Marlowe to Milton (Ithaca: Cornell UP, 1991); Jonathan Goldberg, Sodometries: Renaissance Texts,
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