By R. Huebert
Providing new and theatrically proficient readings of performs by means of a vast diversity of Renaissance dramatists - together with Marlowe, Jonson, Marston, Webster, Middleton and Ford - this new e-book addresses the query of delight: either erotic excitement as represented on level and aesthetic excitement as skilled via readers and spectators. a few of the matters raised (the distribution of delight through gender, the thought of consent) intersect with feminist reinterpretations of Renaissance tradition.
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Providing new and theatrically proficient readings of performs by means of a wide variety of Renaissance dramatists - together with Marlowe, Jonson, Marston, Webster, Middleton and Ford - this new booklet addresses the query of delight: either erotic excitement as represented on degree and aesthetic excitement as skilled through readers and spectators.
Extra resources for The Performance of Pleasure in English Renaissance Drama
77), in defiance of the barons, the conventions of kingship, the sacrament of marriage, and the wishes of his father. After the opening words of the play (which are indirectly Edward’s), he doesn’t mention his father again until he knows that Gaveston is dead. In a world where dynasties are a way of life and fathers are also heads of state, this can’t be accidental. The Earl of Kent, Edward’s brother, does what he can to keep the memory of their father alive. 108), believing that such an invocation will be powerful enough to shake the rebellious barons back into their customary places.
This is more than the barons can digest. They get rid of Gaveston in what Mortimer would like to be taken as an act of public hygiene, Warwick as a political necessity, Kent as a patriotic duty, but what everyone knows is a lynching. The heretic is dead. Long live the heresy. As soon as Gaveston is dead, Marlowe reveals that – for all the flamboyance he has written into the part of the favourite – his real interest has been in Edward’s character all along. 130) to exact the price of bloody revenge on the barons who have thwarted his desire.
The typical object of defiance in Marlowe is an emblem of authority: a person, an institution, or a symbol in which authority is vested. In The Jew of Malta it is Machevil’s responsibility, as the speaker of the Prologue, to ensure that defiance will be directed against such oppressors. Thus the deceptively casual shrug at the authority of the church: I count religion but a childish toy, And hold there is no sin but ignorance. (ll. 14–15) It might be helpful to distinguish between authority (which matters deeply to all of Marlowe’s overreachers) and orthodoxy (which doesn’t).
The Performance of Pleasure in English Renaissance Drama by R. Huebert