2101 EAST COLISEUM BOULEVARD FORT WAYNE, IN 46805-1499 Volume 4 2014 Volume Volume 4 2014 Volume 4 2014 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 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; performance and theater history; textual studies; the author’s professional milieu and place in early modern English poetry, drama, and culture. Manuscripts should follow The Chicago Manual of Style, 16th edition (with footnotes kept to a minimum). Electronic submissions only, acceptable file formats are Word (.doc or docx) or Rich Text Format (.rtf). Please send submissions to [email protected] and include complete contact information and preferred email address. To facilitate blind peer review, the author’s name and affiliation should not appear on the manuscripts; instead, attach a cover sheet with appropriate information. Marlowe Studies is published one time per year. Annual subscription or backorder rates for individuals in the United States are $45; for US libraries and institutions, $90 per annual issue. International subscriptions and backorder rates are $55 for individuals and $110 for institutions. All payments must be made in US dollars. Please send subscription and back order requests to [email protected] or Managing Editor, Marlowe Studies; Indiana University–Purdue University Fort Wayne; 2101 East Coliseum Blvd.; Fort Wayne, IN, 46805. 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) © 2014 IPFW College of Arts and Sciences Marlowe Studies: An Annual 4 (2014) 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 4 (2014) Table of Contents 1 “Fore-words” M. L. Stapleton and Sarah K. Scott 5 “Playing Prisoner’s Base in Marlowe’s Edward II” Bethany Packard, Transylvania University 29 “Bookish Play: Imitation and Innovation in Dido, Queen of Carthage” Christine Edwards, University of Queensland 49 “What’s Actaeon to Aeneas? Marlowe’s Mythological Mischief” Lisa Hopkins, Sheffield Hallam University 63 “Marlovian Influences in Lust’s Dominion; Or, The Lascivious Queen” Annette Drew-Bear, Washington and Jefferson College 79 “More Masques, Mummings, and Metadrama: The Duke of Vanholt Scene in Christopher Marlowe’s Doctor Faustus (B-text)” John Christopher Frongillo, Florida Institute of Technology 91 “The Bell, the Bodies, and the Bonking: The Massacre at Paris and Its Early Playhouse Audiences” Ruth Lunney, University of Newcastle 109 “The Power to Change a Line: Marlowe’s Translation of Ovid’s Amores” Corinna Box, University of Melbourne 129 “The Year’s Work in Marlowe Studies: 2013” David McInnis, University of Melbourne 155 Notes on Contributors Marlowe Studies: An Annual 4 (2014) THE EDITORS Fore-words We are honored to publish the fourth issue of Marlowe Studies: An Annual in the year that marks the 450th anniversary of the author’s birth in Canterbury. As always, we solicit essays on scholarly topics directly related to Marlowe 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. For a fourth year, we offer essays that represent a cross-section of Marlowe studies as they now stand. Our first, by Bethany Packard, explores what has heretofore seemed a minor point in the study of Edward II, a reference to the game known as prisoner’s base. Her paper explains that, on the contrary, the metaphor “serves as a lens for reading the paradoxically precocious character of Prince Edward, Edward II’s fall, and the action of the play.” Christine Edwards’s analysis of imitation in Dido, Queen of Carthage explains Marlowe’s constant awareness of his source text, the Aeneid, and how his incarnations of Dido and Aeneas “grapple for their own identity against an ever-present mythic backdrop.” Lisa Hopkins, one of the world’s leading authorities on Marlowe, examines his unexpected yet frequent yoking of two figures from classical epic and mythology, Aeneas and Actaeon, and how this connection helped him “question the idea of patrilineal transmission, . and for the cultural uses to which Marlowe’s England put it.” Annette Drew-Bear takes up the controversial issue of the reception and influence of Marlowe’s plays by reading 2 Fore-words the tragedy Lust’s Dominion (first published 1657) against works such as Tamburlaine and Edward II and attempting to identify Marlovian elements therein, those that survived into the middle of the seventeenth century. John Christopher Frongillo convincingly argues for the importance of what has seemed to some as a somewhat gratuitous element in in the infrequently studied B-text of Doctor Faustus, the Duke of Vanholt scene, and suggests its literal and figurative centrality to the play. The distinguished theater historian Ruth Lunney applies her considerable knowledge of the pre-1595 English stage to a longstanding problem in Marlowe studies. Although The Massacre at Paris exists in what most have believed to be a mutilated and therefore imperfect form, it clearly influenced a decade’s worth of plays. From this perspective she accounts for the distinctiveness of Massacre then and now. Corinna Box analyzes a text that we have not previously published an essay about in Marlowe Studies, the playwright’s banned translation of Ovid’s Amores, All Ovid’s Elegies. She builds on the work of her predecessors to provide further evidence of Marlowe’s excellence and attention to nuance in recreating poetry from an ancient language and transforming it into his own while preserving the effects of the poet from antiquity. We thank the members of our editorial board who evaluated manuscripts for publication. We are grateful to our contributors, who wrote the essays, submitted them in a timely fashion, accepted our suggestions for revision in our editorial commentary, and revised accordingly without complaint. We offer special thanks to five people at our sponsoring institution, Indiana University- Purdue University, Fort Wayne: Elaine Blakemore, Interim Dean of the College of Arts and Sciences; Jessica Neuenschwander, who joined our staff as our editorial assistant; she succeeds Kendra Morris, our former (and first) editorial assistant, who contributed to this issue; and Cathleen Carosella, our managing editor, whose knowledge of publication, scholarship, copy-editing, journals, libraries, printers, and finance helps make our enterprise successful. We also thank our former Dean of the College of Arts and Sciences, Carl N. Drummond, now the Vice-Chancellor of Academic Affairs at our sponsoring institution, who encouraged us The Editors 3 to found Marlowe Studies and who has always provided his moral and financial support. 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 4 (2014) BETHANY PACKARD Playing Prisoner’s Base in Marlowe’s Edward II Act 4, scene 2 of Christopher Marlowe’s Edward II opens with Queen Isabella and Prince Edward reacting to the French king’s refusal to provide them with assistance. Rejected by her brother, estranged from her husband, and isolated in the country of her birth, Isabella is temporarily at a loss. Then Sir John of Hainault intervenes,