Protestantism and Drama in Early Modern England

Abstract

Containing detailed readings of plays by Shakespeare, Marlowe and Middleton, as well as poetry and prose, this book provides a major historical and critical reassessment of the relationship between early modern Protestantism and drama. Examining the complex and painful shift from late medieval religious culture to a society dominated by the ideas of the Reformers, Adrian Streete presents a fresh understanding of Reformed theology and the representation of early modern subjectivity. Through close analysis of major thinkers such as Augustine, William of Ockham, Erasmus, Luther and Calvin, the book argues for the profoundly Christological focus of Reformed theology and explores how this manifests itself in early modern drama. Moving beyond questions of authorial 'belief', Streete assesses Elizabethan and Jacobean drama's engagement with the challenges of the Reformation.

Prosthesis and the performance of beginnings in The Woman in the Moon

“…In particular, The Woman in the Moon can be contextualised with reference to Calvinist deployment of the 'principle of accommodation', which justifies the use of allusions to corporeality and earthly practices in accounts of divinity. 50 According to this principle, God, who is beyond comprehension, makes himself available to us through 'a secondary realm of signification', or 'the signs that we read in the world around us'. 51 Examples of accommodation include allusions to God as an artisan who uses a 'mould', or as a figure who has 'a mouthe, ears, eyes, handes and feete'.…”

Bent Speech and Borrowed Selves: Substitutionary Logic and Intercessory Acts in Measure for Measure

“…In essence, Protestantism wants to return unencumbered to the magnificent singularity of Christ's expiatory sacrifice. 20 Luther and other reformers thus insisted that the only intercession that can be true and efficacious is Christ's intercession to God on behalf of humankind. All other forms of intercession, which make their plea to Christ, are at best needlessly redundant, and at worst idolatrous.…”

Prosthesis and the performance of beginnings in The Woman in the Moon

“…In particular, The Woman in the Moon can be 12 Copyright © 2016 Chloe Porter contextualised with reference to Calvinist deployment of the 'principle of accommodation', which justifies the use of allusions to corporeality and earthly practices in accounts of divinity. 50 According to this principle, God, who is beyond comprehension, makes himself available to us through 'a secondary realm of signification', or 'the signs that we read in the world around us'. 51 Examples of accommodation include allusions to God as an artisan who uses a 'mould', or as a figure who has 'a mouthe, ears, eyes, handes and feete'.…”