2016 Volume 6 Volume Volume 6 2016 Volume 6 2016 EDITORS at Purdue University Fort Wayne at Mount St. Mary’s University Fort Wayne, Indiana Emmitsburg, Maryland M. L. Stapleton, Editor Sarah K. Scott, Associate Editor Cathleen M. Carosella, Managing Editor Jessica Neuenschwander, Pub. 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. Marlowe Studies: An Annual is a journal devoted to studying Christopher Marlowe and his role in the literary culture of his time, including but not limited to studies of his plays and poetry; their sources; relations to genre; lines of influence; classical, medieval, and continental contexts; perfor- mance and theater history; textual studies; the author’s professional milieu and place in early modern English poetry, drama, and culture. From its inception through the current 2016 issue, Marlowe Studies was published at Purdue University Fort Wayne in Indiana. In 2018, the journal was placed under the editorship of Lisa Hopkins at Sheffield Hallam University in the United Kingdom. For 2016 and earlier issues, please contact the College of Arts and Sciences at Purdue University Fort Wayne. For future publications and submissions, please contact Dr. Hopkins at Sheffield Hallam. We thank our small community, especially our authors, for their time, attention, and scholarship. Many apologies for the delays affecting this issue. We look forward to seeing the future form our special journal acquires at its new home. Regards, Cathleen M. Carosella Managing Editor 20 July 2018 Under US copyright law, no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. ISSN 2159-8231 (Print) 2159-824X (Online) © 2018 Purdue Fort Wayne, College of Arts and Sciences Abbreviations for 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 6 (2016) Table of Contents 1 “Moving Marlowe: The Jew of Malta on the Caroline Stage” LISA HOPKINS 17 “Telescoping Translation: Hero and Leander, Lenten Stuffe, and Bartholomew Fair” KRISTEN ABBOTT BENNETT 41 “Of Knife, Quill, Horn, and Skin: Inscription and Violence in Christopher Marlowe’s Edward II” JOHN FRONGILLO 57 “Media Translations: Words and Bodies in Christopher Marlowe’s The Jew of Malta” JOHN FRONGILLO 73 “First Thing We Do, Let’s Kill All the Children” STEPHEN GUY-BRAY 85 “‘Another Bloody Spectacle’: Excessive Violence in Christopher Marlowe’s Tamburlaine Plays” JENNIFER LODINE-CHAFFEY 103 “The Year’s Work in Marlowe Studies: 2015–16” DAVID MCINNIS 117 NOTES ON CONTRIBUTORS Marlowe Studies: An Annual 2016 LISA HOPKINS Moving Marlowe: The Jew of Malta on the Caroline Stage In spring 2016, I submitted a proposal to Shakespeare’s Globe Education to run a Research in Action workshop on staging The Jew of Malta at an indoor playhouse. The workshop took place on June 6, 2016, in the Sam Wanamaker Playhouse, with the help of Will Tosh from Globe Education and four actors—David Acton, Ben Deery, Robert Mountford, and Aslam Percival—who had not only studied the parts of the play they haD been askeD to prepare but haD read the whole of it and were brim-full of ideas (not forgetting Robbie Hand, who very nobly played the entire Ottoman army as well as taking notes during the workshop).1 In this article, I am first going to discuss what happened at the workshop and then move on to consider what The Jew of Malta might have looked like on the Caroline stage, with specific reference to two other plays that I suggest might have impacted its reception in the 1630s, Henry Chettle’s Tragedy of Hoffman and John Ford’s Love’s Sacrifice. _______ 1. I should acknowleDge at the outset that I was only aBle to Do this Because I haD help from a number of sources: SheffielD Hallam University, which provideD funDing; Dr. Will Tosh of GloBe EDucation, who helpeD me plan the Day, Directed the scenes, anD provideD invaluaBle assistance with the workshop; DaviD Acton, Ben Deery, Robert Mountford, anD Aslam Percival; RobBie HanD; anD finally the auDience, who entereD magnificently into the spirit of the occasion anD maDe some eXtraordinarily helpful suggestions. Thanks are also Due to Dr. Farah Karim-Cooper; Patrick SpottiswooDe; the events team at GloBe EDucation, with special noDs to Rebecca Casey, Emma Hayes, Elspeth North, anD Beth Fisher; Faye Powell-Thomas; the BoX office staff; anD the stewards, who kinDly volunteereD their time. Finally I am grateful to Pavel DraBek, Matthew Steggle, Richard WooD, Daniel CaDman, Kate Wilkinson, Louise Powell, Kibrina Davey, Caroline Heaton, anD Shirley Bell, who heard anD commented on a version of this paper at the seconD Sheffield Hallam Caroline Colloquium. 2 The Jew of Malta on the Caroline Stage The purpose of the Research in Action workshops is to explore performance practice. My proposal was prompted by the fact that the first performance of The Jew of Malta of which we have any knowledge was on Saturday, February 26, 1592, at the Rose, but the text of the play was not printed until 1633, which begs obvious questions about the extent to which the play as we now have it is the same as the play which was acted in the 1590s, or whether it has suffered corruption or revision. In 1977 Kenneth Friedenreich noted that Criticism of The Jew of Malta has persistently sought a satisfactory explanation for the apparent change in Marlowe’s conception of his hero, Barabas, who seems cast in the first two acts in the familiar mold of a Marlovian superman, but who is somehow transformed in the last three acts into a comical revenger. Until recently, there was widespread belief among the play’s critics that its text was corrupt, and that the radical transformation of Barabas after act 2 was the work of a redactor, probably Thomas Heywood, and not Marlowe.2 The 1633 printing was accompanied by a “Prologue Spoken at Court” and a “Prologue to the Stage, at the Cockpit,” the second of which begins “We know now how our play may pass this stage,”3 and it was that question—which speaks directly to Globe Education’s research priority of exploring the history of dramatic texts and their reception—which lay at the heart of the workshop: how does a play written for performance in an open-air amphitheatre in the 1590s translate to indoor performance in the 1630s? The prologue spoken at the Cockpit goes on to say that “by the best of poets in that age / The Malta Jew had being, and was made; / And he then by the best of actors played,”4 but Edward Alleyn was no longer available to play Barabas and the kind of verse generally heard on the Caroline stage was very different from Marlowe’s mighty line (the revival at the Cockpit will have been running concurrently with two comedies by Shirley). _______ 2. Kenneth Friedenreich, “‘The Jew of Malta’ and the Critics: A Paradigm for Marlowe Studies,” Papers on Language and Literature 13.3 (1977): 318–326, 318. He also observes that in 1937 Philip Henderson suggested that the play was a collaboration between Marlowe and Kyd (322). 3. Christopher Marlowe, The Jew of Malta, in The Complete Plays, ed. Mark Thornton Burnett (London: Everyman, 1999), 458–535, 460. 4. Marlowe, Jew of Malta, “The Prologue to the Stage, at the Cockpit,” 2–4. Lisa Hopkins 3 The research questions I initially put forward were: • How well is the action of The Jew of Malta suited to the stage of the Sam Wanamaker Playhouse? • What happens to Marlowe’s mighty line in the intimacy of an indoor theater? • Although the play was originally written for daylight performance, does it work by candlelight? • Most importantly, does acting the play indoors enable us to see or guess anything about the nature of the text? Does it act like a play originally written for performance in very different circumstances, or are there any signs that any changes might have been made to it? • Are there, in short, any clues to whether the 1630s text was influenced by the circumstance of 1630s performance, which in turn might help us to address that crucial question of whether the play as we have it represents the play as Marlowe left it? In the interval between proposing the workshop and actually doing it, another question also made itself felt: The Jew of Malta is obviously a play about religion, but is it also a religious play? I began to think about this after seeing the Royal Shakespeare Company production of Doctor Faustus at the Swan in spring 2016, which made me understand for the first time why Alleyn wore a cross when playing the role and how it was indeed possible for so strong a sense of transgression and of the numinous to be created that an audience member might imagine that they saw an extra devil on the stage.