Elizabethan Drama Research Paper

Elizabethan Drama Research Paper-89
This essay seeks to provide an estranging perspective through a reading of new historicist accounts of Marlowe.Focussing on Tamburlaine, I hope to suggest some different approaches with regard to the melancholy dramatisation of history as a scene of unnatural events, by drawing on the work of Walter Benjamin and Franco Moretti.[7] A distinctive and estranging approach to dramatising the enormity of history is evident in the prevalence of violence, murder and arbitrary death in Elizabethan drama itself.This prevalence has long been seen as excessive, a mark of something unnatural in its historical imaginary, without being understood.

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The mirror of magistrates becomes a wheel which needs to be reinvented because it never quite comes full circle, notably in the lurching rhythms of the failure of poetic justice at the end of King Lear.

Hence, although a fashion for stage violence can be traced from Cambises and Gorboduc to The Spanish Tragedy, its historical significance is complicated.

The possibility of resisting power and the power of ideology marks the decisive conflict in these different assimilations of history to culture.

New historicism, lost in proliferating examples of contingent but seemingly inescapable discourses of power, seems at best to expand the archive of wry smiles at the ruses of history and power.

If we are to awake from the nightmare of history, perhaps such historicism should be left alone to dull the air with discoursive moans, as Aeneas puts it in Marlowe's Dido, Queen of Carthage.

The persistent naturalisation of suffering in history should be resisted if the process of transmitting historical documents is not to further the process.

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Beyond New Historicism: Marlowe's unnatural histories and the melancholy properties of the stage Drew Milne The tradition of the dead generations weighs like a nightmare on the minds of the living.

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