FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W73560892> ?p ?o ?g. }

• W73560892 endingPage "495" @default.
• W73560892 startingPage "465" @default.
• W73560892 abstract "Marlowe's Edward II and the Medieval Passion Play Patrick Ryan Christopher Marlowe's Edward II is distinguished by a grim naturalism extraordinary among Elizabethan chronicle plays. To dramatize the collapse ofEdward's monarchy, Marlowe opens the historical drama with frank depiction ofthe young king's passionate love for his favorite, Piers Gaveston. After Edward makes Gaveston Lord High Chamberlain, Earl of Cornwall, King and Lord ofMan, jealous lords, pre-empted by the base-born royal minion, defy Edward in a series of outbursts and petty quarrels, which culminate in armed revolt, the murder of Gaveston, civil war, and decimation of the nobility before rebel barons defeat the royal army and capture Edward. Climaxing in the torture and covert assassination of the king, Edward II traces the disintegration of civil order in entirely natural causes—human weakness, cruelty , and lust for power. Marlowe's noble and royal characters, embroiled in their bloody contest of will, make no creditable appeals to divine providence. Further, the play lacks any type of supernatural manifestation characteristic ofcontemporaneous historical dramas such as Shakespeare's plays oí Henry VI, which stage witches, devils, and cosmological portents. Accordingly, literary historians conclude that Marlowe, in his naturalistic chronicle play, emphasizes the individual will to power as the primary cause of historical process in a world without divine providence and supernatural influence. Such readings characterize Edward II as a secular history play without significant religious dimension.1 However, with this characterization ofthe drama, critics overlook the complex panoply of Christian images that Marlowe deploys during the climactic scenes of the tragedy. As I show in this article , to dramatize the arrest, imprisonment, degradation, torture, and murder ofKing Edward, Marlowe embellishes these dramatic actions with verbal and visual images derived from conventional medieval and early Renaissance descriptions of Christ's Passion. Marlowe's suffering king—like Christ, according to medieval 465 466Comparative Drama exegesis largely suppressed by the Reformation—is covered with excrement, forced to drink from a channel, shaved, enclosed in a cesspool, and trodden underfoot. Many of the torments and degradations staged in Edward II are not part ofthe historical record, but Elizabethan chronicles do imply that King Edward's keepers subjected him to such abuses derived from Passion lore. The chroniclers give only brief report of Edward's sufferings in captivity, of his humiliations, torments, and agonizing death on the point of a red-hot spit; however, in his Chronicles of England the Elizabethan John Stowe, one of Marlowe's principal sources, translates excerpts from a medieval biography of Edward that describes his afflictions like those that Jesus suffered. As I show, Marlowe recognizes, in Stowe's and Raphael Holinshed's accounts of Edward's mistreatment, signal torments drawn from Passion narrative.2 In climactic scenes of Edward II, the playwright elaborates the chroniclers' cryptic accounts by adding physical and psychological assaults modeled on some that Jesus supposedly endured. Specifically, Marlowe rehearses symbolic degradations adapted from traditional lore of Christ's secret Passion, a series of bizarre torments not recorded in the Gospels but which Jesus suffered after his arrest, according to medieval and Tudor exegesis of Hebrew prophecy.3 Throughout the climax of his tragedy, Marlowe deploys Christological imagery so deftly as to heighten and consummate the powerful naturalism that animates his earlier scenes. Indeed, in staging the torture and death of Edward, Marlowe probes aesthetic limits of emergent early modern drama with a theatrical style rooted in a late medieval realism developed by dramatists who historicized Christ's Passion and reenacted it in excruciating detail. In this article, I show how Marlowe, dramatizing the sufferings of Edward, forges a powerful theatrical naturalism from interrelated conventions of Tudor piety and religious drama.4 I After the tragic peripety, Edward's defeat and deposition, the focus of Marlowe's historical drama shifts from the king's struggles with his rebellious lords to his sufferings in captivity. During a transitional scene, Marlowe introduces Christian imagery with an emblematic stage picture.5 Hiding from victorious rebels, Edward and his loyal favorites, Spencer and Baldock, seek refuge from the monks of Neath Abbey. Have you no doubt, my lord, have you no fear, the Abbot reassures Edward with a promise..." @default.
• W73560892 created "2016-06-24" @default.
• W73560892 creator A5063715866 @default.
• W73560892 date "1998-01-01" @default.
• W73560892 modified "2023-10-17" @default.
• W73560892 title "Marlowe's Edward II and the Medieval Passion Play" @default.
• W73560892 cites W1525034923 @default.
• W73560892 cites W1547099304 @default.
• W73560892 cites W1547651684 @default.
• W73560892 cites W1592516119 @default.
• W73560892 cites W1592840566 @default.
• W73560892 cites W1707176674 @default.
• W73560892 cites W1964710938 @default.
• W73560892 cites W1967794823 @default.
• W73560892 cites W1972057588 @default.
• W73560892 cites W1978343720 @default.
• W73560892 cites W1987444510 @default.
• W73560892 cites W1993601034 @default.
• W73560892 cites W2015858600 @default.
• W73560892 cites W2021539425 @default.
• W73560892 cites W2031702947 @default.
• W73560892 cites W2032593276 @default.
• W73560892 cites W2045959235 @default.
• W73560892 cites W2047980627 @default.
• W73560892 cites W2053277022 @default.
• W73560892 cites W2059857431 @default.
• W73560892 cites W2062152586 @default.
• W73560892 cites W2074647363 @default.
• W73560892 cites W2091886381 @default.
• W73560892 cites W2149979175 @default.
• W73560892 cites W2150840834 @default.
• W73560892 cites W2151298432 @default.
• W73560892 cites W2152136927 @default.
• W73560892 cites W2157749794 @default.
• W73560892 cites W2162741903 @default.
• W73560892 cites W2321574156 @default.
• W73560892 cites W2321675728 @default.
• W73560892 cites W2327826677 @default.
• W73560892 cites W2330267692 @default.
• W73560892 cites W2335060519 @default.
• W73560892 cites W2484570917 @default.
• W73560892 cites W2511420012 @default.
• W73560892 cites W2528965223 @default.
• W73560892 cites W2798070326 @default.
• W73560892 cites W2798145782 @default.
• W73560892 cites W3094633796 @default.
• W73560892 cites W3107908471 @default.
• W73560892 cites W398394824 @default.
• W73560892 cites W44690399 @default.
• W73560892 cites W573062790 @default.
• W73560892 cites W577766157 @default.
• W73560892 cites W620054550 @default.
• W73560892 cites W622600024 @default.
• W73560892 cites W648835003 @default.
• W73560892 cites W655297323 @default.
• W73560892 doi "https://doi.org/10.1353/cdr.1998.0034" @default.
• W73560892 hasPublicationYear "1998" @default.
• W73560892 type Work @default.
• W73560892 sameAs 73560892 @default.
• W73560892 citedByCount "9" @default.
• W73560892 countsByYear W735608922014 @default.
• W73560892 countsByYear W735608922015 @default.
• W73560892 countsByYear W735608922016 @default.
• W73560892 countsByYear W735608922020 @default.
• W73560892 crossrefType "journal-article" @default.
• W73560892 hasAuthorship W73560892A5063715866 @default.
• W73560892 hasConcept C121332964 @default.
• W73560892 hasConcept C124952713 @default.
• W73560892 hasConcept C138885662 @default.
• W73560892 hasConcept C142362112 @default.
• W73560892 hasConcept C15744967 @default.
• W73560892 hasConcept C163258240 @default.
• W73560892 hasConcept C17744445 @default.
• W73560892 hasConcept C199539241 @default.
• W73560892 hasConcept C2776347870 @default.
• W73560892 hasConcept C2779105800 @default.
• W73560892 hasConcept C2779702343 @default.
• W73560892 hasConcept C2780310893 @default.
• W73560892 hasConcept C523419034 @default.
• W73560892 hasConcept C542102704 @default.
• W73560892 hasConcept C62520636 @default.
• W73560892 hasConcept C74916050 @default.
• W73560892 hasConcept C94625758 @default.
• W73560892 hasConcept C95457728 @default.
• W73560892 hasConceptScore W73560892C121332964 @default.
• W73560892 hasConceptScore W73560892C124952713 @default.
• W73560892 hasConceptScore W73560892C138885662 @default.
• W73560892 hasConceptScore W73560892C142362112 @default.
• W73560892 hasConceptScore W73560892C15744967 @default.
• W73560892 hasConceptScore W73560892C163258240 @default.
• W73560892 hasConceptScore W73560892C17744445 @default.
• W73560892 hasConceptScore W73560892C199539241 @default.
• W73560892 hasConceptScore W73560892C2776347870 @default.
• W73560892 hasConceptScore W73560892C2779105800 @default.
• W73560892 hasConceptScore W73560892C2779702343 @default.
• W73560892 hasConceptScore W73560892C2780310893 @default.
• W73560892 hasConceptScore W73560892C523419034 @default.
• W73560892 hasConceptScore W73560892C542102704 @default.

• next