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Is there a discernable relationship between style and the development of punctuation in early modern English dramatic texts? This paper will focus on the comma in the early editions of Marlowe's Tamburlaine Part One (1590) and Ben Jonson's Volpone (1607). Throughout early editions of Marlowe's drama, the comma is used very flexibly and heavily. Its function ill-defined, it is rarely medial but occurs primarily at the end of lines of verse, often in complete disregard for syntax. Such comma usage facilitates a characteristically Marlovian style: extended passages of considerable beauty but imprecise sense produced by the open-ended accumulation of loosely coordinated phrases rich in vocabulary and pregnant with meaning. The most striking example is Tamburlaine's meditation on Zenocrate's beauty in 5.2.72-127 of Tamburlaine Part One. Systems of punctuation in the period, however, were tending toward more precise definitions of the functions of punctuation marks. The circumscription of the 's function and the increased use of other punctuation marks had stylistic consequences, necessitating a clearer articulation of the parts of sentences, the relations among those parts, and their coherence within a complete grammatical movement. The significance of these consequences can be seen Volpone's speech to Celia and Celia's reply in 3.7 of Volpone, a text whose printing Jonson carefully supervised. Sublime Tamburlainian fantasy gives way to the glittering, destructive, and ultimately exhausted rhetoric of itemized and commodified pleasures fit for the new realities of nascent capitalism. Moreover, Jonson's increasingly precise sense of the function of another punctuation mark, the dash, necessitates a change in Celia's character that suggests that the realm of the material object and its shallow seductiveness can be transcended only through its demystification and denial. [ABSTRACT FROM AUTHOR]

The article "Introducing Shakespeare and His Contemporaries" explores Shakespeare's place in the early modern literary and theatrical scene, emphasizing the collaborative nature of writing during that period. It discusses the diverse contributions of contemporary poets, dramatists, and pamphleteers, shedding light on their works that influenced Shakespeare. The article also delves into the dramatic genres, language developments, and collaborative efforts among playwrights of the time, highlighting Shakespeare's interactions with his literary peers and the broader community of writers in that era. [Extracted from the article]

Dido, Queene of Carthage is calibrated to disrupt the smooth passage of the translation of empire and studies embraced by humanist pedagogy. Taking full advantage of the theatrical affordances offered by the boy actors of the Children of her Majesty's Chapel, the play aims to whisk its target audience, the sophisticated wits of the Inns of Court, back to their early encounters with the matter of Troy in their studies of Vergil and Ovid in grammar school. This essay focuses on the play's first two acts to show how Marlowe deploys the materials of classical letters and rhetoric in ways that test and contest their ideological functions. [ABSTRACT FROM AUTHOR]

Celem artykułu jest analiza przekładów Williama Shakespeare’a i Christophera Marlowe’a autorstwa Jerzego S. Sity (1934–2011), poety neoklasycznego, tłumacza i dramaturga drugiej połowy XX wieku. Twórczość translatorska Sity rozpatrywana jest w kontekście biograficzno-socjologicznym – uwzględniającym pozycję tłumacza na polu literackim i teatralnym Polskiej Rzeczypospolitej Ludowej – oraz w kontekście przyjętego przez Sitę modelu przekładu. Obie perspektywy zdają się podporządkowane przełomowej formule krytycznej Jana Kotta, zapoczątkowanej kilka lat wcześniej w Szekspirze współczesnym. Polityczne konflikty lat sześćdziesiątych XX wieku pobrzmiewają zatem wyraźnie w dramatach Marlowe’a i Shakespeare’a w wersji Sity. Strategia translatorska Sity, stawia kluczowe pytania o charakter przekładu scenicznego, a także o głęboki wpływ, jaki na niego wywiera współczesna liryka. W tym kontekście punktem wyjścia są rozważania Stefanii Skwarczyńskiej o znaczeniu dorobku Sity polskiej recepcji Shakespeare’a. Analiza wsparta jest materiałami archiwalnymi z Beinecke Library, Państwowego Instytutu Wydawniczego, a także ze zbiorów rodzinnych.

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The document titled "From Persians to Moors: The Representation of Otherness in the Persians, Tamburlaine the Great, and Abdelazer" discusses the representation of otherness in these three literary works. It explores how the Persians are portrayed as wealthy and fearsome in battle, while Tamburlaine the Great focuses on the character of Tamburlaine and his conquests. Abdelazer, on the other hand, delves into themes of lust and dominion. The article provides an analysis of these works and their cultural implications. [Extracted from the article]

The denial of religion is considered one of the major themes of Christopher Marlowe's Doctor Faustus (1604). Doctor Faustus, Marlowe's protagonist, realizes that all of the knowledge he has acquired, including theology, is no more satisfying. Therefore, he decides to learn magic since he believes that magic will bring him absolute knowledge and power. Despite the warnings he receives from the Good Angel, Faustus' excessive pride leads him to sell his soul to the devil and harden his heart toward God--a decision that leads him to hell. Pharaoh in the Qur'an denies and repudiates the invitation of Moses to submit to God and have mercy over his people. Pharaoh arrogantly claims that he needs no God since he himself is the great god of his people. This article is an interdisciplinary study between theology and literature to demonstrate how the archetypal villain in literature mirrors the one introduced in the holy texts. It also argues that Marlowe's Faustus is, in many ways, a replica of Pharaoh mentioned in the Qur'an. They both share diabolical traits, including but not limited to pride, arrogance, and blasphemy. [ABSTRACT FROM AUTHOR]

The digitization of texts and the advent of big data analyses have transformed our understanding of authorship and collaboration in early modern drama. However, these advancements ought to be carefully contextualized within the material realities of early modern playwriting. The scarcity of surviving dramatic manuscripts underscores the significant role of agents like compositors, printers and editors, and the loss of the majority of plays from English commercial theatres casts doubt on the reliability of comparisons based on unique or common verbal parallels. The article focuses on drama from the Elizabethan and Jacobean periods, particularly the recently proposed collaboration between Christopher Marlowe and William Shakespeare on the Henry VI plays. Applying the IT concept of GIGO (garbage in, garbage out), it highlights the impact of textual transmission intricacies on authorship attribution, emphasizing that even the most sophisticated attribution techniques are only as reliable as the (often unreliable) data they utilize.

The present article outlines the stage history of Christopher Marlowe’s history Edward II on Czech stages, focusing chiefly on how the respective directors approached the titular character of Marlowe’s play and his sexuality. The study focuses on two post-2000 productions of the play: Diego de Brea’s Edvard Drugy for the Slovenian National Theatre, which toured to the 16th “Divadlo” International Theatre Festival in Pilsen, West Bohemia, in 2008; and Jakub Čermák’s production of Edvard II. for the independent Czech theatre company “Depresivní děti touží po penězích” (Depressive Children Yearn for Money) that premiered in 2023 in Prague. Since for both Czechs and Slovenians, King Edward II is a minor figure of English history and Elizabethan history plays are generally less appealing to them than other genres, both the directors sideline the political dimension of the story to fully explore the issue of social and sexual norms and relate it to current social and cultural discussions both in the West and the former Eastern Bloc. Stressing the motif of social and sexual otherness even more bravely than most recent Western productions, de Brea and Čermák offered not only valuable contributions to both local and global reception of Marlowe’s Edward II, but also raised the visibility of LGBT theatre in a region where it has only a modest history and tradition.

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article takes as its prompt a persistent misprint in the early editions of Marlowe's Hero and Leander, where Abydos and Sestos are termed "Seaborders" rather than the correct "Seaborderers". The confusion is appealing: to speak of seaborders raises questions about where and how the borders lie between sea and land, questions, I argue, with which Marlowe was perennially interested. While precious scholars have focused on his land geography, I turn to the places where the sea meets the land, the shallow edges of the sea, the heavily contested, fought over, and politicized seaborders. The article focuses briefly on Hero and Leander, with its partially submerged lovers, before moving on to more extended readings of the shore in Dido Queen of Carthage, the road in The Jew of Malta, and monsters of the sea in Edward II. Marlowe's experiments with seaborders are highly various - perhaps even contradictory. Dido Queen of Carthage stages the ethics of international hospitality; and questions the claims and duties of both hosts and guests, sovereign and refugees. The Jew of Malta insists on the highly specific role of islands to trade within the Mediterranean while repeatedly imagining the loss of those islands to a rapaciously reflowing sea. Edward II sees threats to England's national borders through the figure of the sea monster who comes ashore - but not as a refugee this time, but as a man personally invited by a king, who will end up submerged. The article concludes by treating the fleeting fantasy moments that challenge the largely negative depiction of seaborders. [ABSTRACT FROM AUTHOR]

Interjections often occupy peripheral positions: they dwell at the periphery of the lexicon, are often found at the periphery of utterances (especially at the beginning) and have been considered "peripheral to the 'real' concerns of language" (Wilkins 1992: 119) for a long time. Interjections are one of the most difficult word-classes to define, but are experiencing a new Renaissance, especially in diachronic investigations. Historical pragmaticists have recognised the importance of this part of speech in spoken interactions, and some contributions have successfully described the usage and distribution of interjections in Early Modern English. None of these contributions has specifically dealt with any of Marlowe's productions. The present paper investigates the forms and functions of interjections in Marlowe's Edward II, by applying Culpeper and Kytö's (2010) functional taxonomy. It discusses a set of criteria to isolate interjections from other lexical items according to a prototype-based model and illustrates some problematic cases for their identification. [ABSTRACT FROM AUTHOR]

On Thursday 29 June 1587 the Privy Council drafted a minute to the authorities of Corpus Christi College Cambridge ordering them to stop making difficulties in the matter of conferring Marlowe's degree and declaring that "Whereas it was reported that Christopher Morley was determined to have gone beyond the seas to Reames and there to remain, their Lordships thought good to certify that he had no such intent". It is not clear whether this means that Marlowe had never in fact gone to "Reames" (i.e. the French city of Rheims) at all or whether it means that he had gone there but had not intended to stay, but we do know that such a visit is not improbable, for since 1578 Rheims had been the home of the seminary to which English Catholics could go in secret to train for the priesthood. If Marlowe did indeed visit Rheims, two aspects of its splendid cathedral would surely have caught his attention: first, that it was used for the coronations of the kings of France; second, that its west façade, site of its principal iconographic programme, gives prominence to two themes, crowns and a kind of strange opposite of coronation, decapitation. This essay argues that both these motifs are pertinent for understanding Marlowe's work. [ABSTRACT FROM AUTHOR]

It is well known that collections like Richard Tottel's Songes and Sonettes (1557) were retrospectively classified as miscellanies, as both the lexicon and the conceptual categories for multiauthor books were still being developed in sixteenth-century England. "Miscellany" and "anthology" are bibliographic back-formations, impositions of modern ideals of authorship and coherence on to collections that mix the labors of compilers and poets. This essay asks what histories of production and reception have been hidden by continuing to read Elizabethan poetry books as miscellanies. In particular, how has the mixed, disorderly book been taken as an essential origin point for English literary history? Heffernan's focus is Englands Helicon (1600), a book of 150 pastoral poems from the leading poets of the day. Because its mode was so consistent, this collection has most often been understood as an anthology compiled in response to the death of Philip Sidney. But by tracing its sources, Heffernan shows how dozens of poems in Englands Helicon were not at first pastorals and only gained a rural tone through the poem titles, speech tags, and attributions added in the process of printing the collection. The expansive fictions within the printed apparatus still contribute to how poems like Christopher Marlowe's "The Passionate Shepherd" are read and taught today. Englands Helicon holds a history of how a generically mixed body of work began to function as a cue for interpretation, covering the circumstances of its writing and circulation with a desire to read at scale. [ABSTRACT FROM AUTHOR]

Dans un contexte dominé par l’iconoclasme de l’anglicanisme anglais et par la “ textualisation ” de la culture religieuse, Christopher Marlowe transforme sa pièce Doctor Faustus (1589), mise en scène dans les théâtres de la banlieue londonienne, en une réflexion sur les capacités performatives et “ incarnationnelles ” du théâtre. Cet article étudie comment l’inflexion métaphorique du langage théologique que les autorités ecclésiastiques avaient utilisé pour dénoncer les effets pervers de la représentation théâtrale permet au dramaturge anglais de formuler une conception de l’art littéraire comme création d’un monde et non plus comme imitation de la nature. Ainsi, Marlowe requalifie en termes théâtraux le concept de performativité : alors que, dans le théâtre du monde, la performativité de la prédestination divine vouait les croyants à une situation de détresse existentielle, la performativité artistique redonnait aux spectateurs la possibilité de créer leur propre monde, le monde du théâtre. C’est pourquoi le remaniement esthétique du lexique et de l’imaginaire théologique s’avère la réponse la plus profonde de Marlowe à la crise de “ l’absolutisme théologique ” : il fait du théâtre un espace de jeu où le traumatisme provoqué par cette crise pouvait être travaillé et éventuellement dépassée par sa resignification dramatique. C’est dire que, dans la version marlowienne du mythe faustien, l’autoaffirmation humaine se réalise surtout à travers le pouvoir cathartique de l’illusion théâtrale.

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Parts 1 and 2 of the Arab Jordanian series Rās Ghlaiṣ ('The head of Ghlaiṣ') (2006–08), written by Jordanian screenwriter Muṣṭafā Ṣāliḥ and directed by Aḥmad D'aibis and Sha'lān al-Dabbās, share three 'common denominators', in Haun Saussy's terminology, with Christopher Marlowe's Tamburlaine the Great, Parts 1 and 2 (1587): (1) the shepherd character as a monstrous despot, (2) pastoral love of the shepherds and (3) the mobilization of nations/tribes to take revenge against Tamburlaine/Ghlaiṣ. Ṣāliḥ's delineation of the nomadic hero Ghlaiṣ is similar to the Marlovian model of Tamburlaine in a time of war and love. Ghlaiṣ, as an Arab Jordanian Tamburlaine, seeks in a Machiavellian manner an ultimate rule and control over all nomadic tribes in the Jordanian desert and behaves as a monstrous lover. This article takes two pieces of literature from two different cultures as an example of the adaptability of screen narrative to the scope of comparative literature and appropriation studies, showing simultaneously the experience of Jordanian screenwriters as one example of what Craig Batty calls the 'screenwriting turn' (2014: 1). Both Marlowe and Ṣāliḥ dramatize the shepherd despots to warn against the threat of colonial and imperial ambitions and models. [ABSTRACT FROM AUTHOR]

In Goethe's Faust , Faust expresses his fear that the alchemical "medicine" he and his father once gave their patients to cure them from plague had done more killing than the plague itself. This fear situates Goethe's work within a critical discourse stretching back to Pliny the Elder's Naturalis historia , and carried on from the beginnings of the Faust tradition about magic, medicine and scientific error. From the charges of quackery against the historical Faust, through two centuries of popular literature depicting Faust's "descent" from theology to medicine as precipitating his embrace of magic, the roots of the Faust legend run through the ambivalent relationship of the magical and medicinal. This article examines how the physician-astrologers of Renaissance Europe informed early Faustian literature, just as the alchemists, whose practices survived well into the Enlightenment, informed not only Goethe's literary work but the author's own life. The Faust tradition encodes the cultural salience that medicine has long held in the West as emblematic of the bumpy, dangerous path to knowledge. [ABSTRACT FROM AUTHOR]

Performance review of Faustus performed by the AtelierCité (ThéâtredelaCité) on 9 November 2021 at Université Toulouse-Jean Jaurès

This paper examines the use of dramatic techniques of storytelling and self-narration on the English stage in the late 16th and early 17th centuries, with an emphasis on Christopher Marlowe’s Tamburlaine the Great and John Webster’s The Duchess of Malfi. The playwrights of the period were negotiating their way in a new world in which language was a medium which was coming more and more to be respected, and those who could command it had the potential for advancement in ways never before conceivable. In the forefront of those negotiating for such a place through their dramaturgy were Christopher Marlowe and John Webster. They may be considered the instigators in the development of the self on the English stage in the early modern period through storytelling and self-narration as representational techniques. The paper also examines some of the profound changes in dramaturgy which took place in the period in question and which culminated in the drama of Marlowe and Webster.

"The Portrait of Mr W. H." was published in Blackwood's Edinburgh Magazine in 1889 and a second "version," as it is often termed, was written at various points between then and 1893, but it did not appear until 1921 and then only in a limited edition. This second text, first tentatively titled The Incomparable and ingenious history of Mr W. H. and here called the Rosenbach manuscript, is twice the length of the earlier piece, and in its tone, tenor, and range of reference very different. This article argues why it is important to distinguish carefully between Blackwood's "Mr W. H" and the Rosenbach manuscript. There is much to learn about Wilde's compositional practices and developing interest in doing so. [120 words] [ABSTRACT FROM AUTHOR]

John Ford's play 'Tis Pity She's a Whore offers a compelling rendering of the state of happiness. Its scandalous plot, which revolves around the incestuous relationship between the two siblings Giovanni and Annabella, confronts the audience with an intricate discussion of early modern notions of happiness. Situated in the ambiguous sphere between a secular and a theological reading of what it means to be happy, Ford's play stages the conflicts and the calamities that derive from its protagonists' eager attempt to attain and to live their own version of happiness. [ABSTRACT FROM AUTHOR]

This essay examines representations of violence in I Tamburlaine. In the play, Marlowe weds Tamburlaine's desire for recognition to brutal spectacular violence and attunes audiences to the normative violence that recognition entails for the vulgar or common classes to which Tamburlaine, a poor Scythian shepherd, belongs. In a world that marks certain bodies, social classes and even names as unworthy of certain kinds of recognition, the creation of bloody spectacles, such as the slaughtering of the virgins of Damascus, becomes Tamburlaine's only means to gain political visibility. By yoking Tamburlaine's ascendance and eventual triumph to his increasingly effective use of spectacle, Marlowe's I Tamburlaine makes a case for the narrative possibilities of spectacle to make a life like Tamburlaine's both visible and compelling. [ABSTRACT FROM AUTHOR]

Copyright of Jerash Journal for Research & Studies is the property of Jerash University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay surveys the juridical and biopolitical significance of the city walls in Christopher Marlowe's The Jew of Malta. Early modern cities were designed to control the spread of diseases, and the city space embodied discipline and governmentality. The function of Malta's walls is to protect the corpus politicum against pathogens, marking the distinction between physis and nomos. Marlowe defines this function by representing lives without: the national body is conceived as a living organism threatened by alien bodies. In the play's medicinal rhetoric, pathogenic infiltrations of Turks and Catholics are destroyed by another invasive body, a Jew. [ABSTRACT FROM AUTHOR]

This essay explores the intersection of republican and nationalist ideas in Marlowe’s Elizabethan history play Edward II. I read the play less in terms of recent dominant readings: that is, focussing on the same-sex relation between King Edward and his ‘minion’ Gaveston. Instead, I focus on the play’s critique of Edward’s authoritarian and arbitrary rule, a critique of monarchy informed by proto-republican ideology and a nascent nationalism. This essay also considers the play’s archipelagic angles within the context of the play’s initial inscription—Queen Elizabeth’s two-kingdom, three-nation rule—as well as its Jacobean publications.

The article analyzes the figure of the devil and the different characters that come together under this term, such as Satan, Lucifer, Beelzebub, Belial, Samael and Mephistopheles. It also explores its presence in literature, especially in works dealing with the Faustian myth, such as the writings of Christopher Marlowe, Johann Wolfgang von Goethe and Thomas Mann. It then analyzes the legal aspects of the Devil's covenant, both in form and content. And, finally, it approaches the literary presence of the devil in the field of the arbitration, through the analysis of Liber Belial, of 1382, by Giacomo Paladino.

The act of adopting or removing religiously coded clothing in early modern English drama has long been overlooked in contemporary scholarship. The costumes worn to signify the religious affiliations of principal female roles in Lewis Wager's ca. 1566 The Life and Repentaunce of Mary Magdalene, Robert Greene's ca. 1588-1592 Friar Bacon and Friar Bungay, and Christopher Marlowe's 1589-1590 The Jew of Malta function to indicate perceived identity while also acting as part of an ongoing religious conversion. Such use of religious clothing in staged drama, contextualized alongside vestiarian controversies and the commonplace practice of playhouses using Catholic vestments as costumes, reveals the tensions surrounding the power of clothing to completely transform the wearer into someone else. Just as the vestments themselves were transformed for use on the stage, so too do the costumes transform the wearers' religious identities in each of these plays. [ABSTRACT FROM AUTHOR]

Since 1928, The First Part of the Contention and Richard Duke of York (printed separately in the 1590s) have been regarded as memorial reconstructions of two texts in the Folio edition of Shakespeare's Comedies, Histories, and Tragedies (printed in 1623), where they are instead identified as Henry the Sixth, Part Two and Henry the Sixth, Part Three. Although recent scholarship has questioned the validity of the memorial reconstruction hypothesis, demonstrating aesthetic differences between the "bad quartos" and the Folio as a sign of distinctive authorial engagements, most reference works and critical editions of the Henry VI plays accept a variety of textual evidence in support of the memorial reconstruction hypothesis. The hypothesis assumes that mangled historical details should be attributed not to a playwright who consulted chronicle sources but to non-authorial agents who trusted their memory when reconstructing the Folio version. This article aims to challenge textual evidence for the memorial reconstruction hypothesis adduced by Peter Alexander and recent textual scholars by discrediting the supporting textual evidence, to argue that demonstrable verbal links between the suspect texts and chronicle sources in several passages unique to Contention or Duke of York substantiate the authorial consultation of chronicle sources. [ABSTRACT FROM AUTHOR]

It had become commonplace in the 1890s to think of cultures and literatures entering periods of decline. English Decadence, the conventional narrative goes, was a product of Francophilia. Yet in the 1880s young authors were uncovering alternative models of literary decline and stylistic artifice. In their study of playwrights such as John Ford and Philip Massinger, Arthur Symons and Havelock Ellis began to interrogate the dominant historiographical narratives of the late-Victorian period. The example of the Elizabethans offered a model of literature that strained style to its limits in an attempt to express the extremes of sensation, an example that would be invaluable for Decadent writers as they negotiated the moral orthodoxy of Victorian England, challenging the moral frameworks that sustained the myth of "decadence" in literature, and forging the autonomous aestheticism that would underpin the Decadent Movement. [138 words] [ABSTRACT FROM AUTHOR]

This article deals with the production of The Tragical History of the Life and Death of Doctor Faustus after Christopher Marlowe directed by Jerzy Grotowski and put on by the Laboratory Theatre in Opole (premiered on 23 April 1963). The show became famous mostly for Zbigniew Cynkutis’ outstanding performance in the title role and Jerzy Gurawski’s stage set. It was also the first of Grotowski’s productions that garnered international acclaim. Until now, however, not enough attention has been paid to its dramaturgy and overall significance as an autonomous piece of artistic expression; instead, it has been viewed mostly as a step on the way to Grotowski’s more mature theatre. By reconstructing and recounting the particular scenes in chronological order the author presents his own interpretation of each of them and of the performance as a whole. Through this process, almost scandalous associations of great historical and ethical themes (e.g. theology after the Holocaust) with personal struggles with private inhibitions and intimate experiences can be found. It is through such associations that The Tragical History of the Life and Death of Doctor Faustus was named "a mystery of awe and wonder."

The highly recognizable title-page illustration from Christopher Marlowe's play Doctor Faustus was also used in the printing of a ballad to commemorate the death of "Doctor" John Lambe in 1628. This paper explores rhetorical, historical, visual, and bibliographic connections between the two works as well as the cultural significance of their relationship and the stories they tell, which are fraught with warnings regarding the inherent dangers of magic practiced by purported healers. The correspondence of the ballad and the play highlights challenges and changes in the medical marketplace of early modern London, demonstrating the complexity and consequence of the connections among historical events, textual records, and fictional literary representations. Finally, comparing the shared woodcut with an engraved frontispiece from a book written by a more reputable physician, Sir Thomas Browne, traces the rise of more trustworthy medical practitioners in mid-seventeenth-century England. [ABSTRACT FROM AUTHOR]

This essay situates the execution of Calyphas in 2 Tamburlaine in the context of the gendered disciplinary regimes imposed by Tamburlaine in his quest for global empire. The execution bears a double significance: a father disciplines his son and, simultaneously, a sovereign military commander exercises martial law. In this doubling, the episode fuses a number of related issues in the history of sovereignty, especially key concepts addressed in Michel Foucault's The History of Sexuality and later taken up by Giorgio Agamben in works such as Homo Sacer: Sovereign Power and Bare Life. By putting these historical models into dialogue with a revised account of the play's source materials, this essay argues that Marlowe stages the violence embedded in both absolutist and republican models of governance when they are premised on the rigid enforcement of hierarchical disciplinary regimes. [ABSTRACT FROM AUTHOR]