‘What book is that?’

‘‘What book is What book is that?’that?’

Performance, text, and Performance, text, and unofficial speech in unofficial speech in Doctor Doctor

FaustusFaustus

Text and performanceText and performance

Carl Grose, The Dark Philosophers, 2011

Tim Crouch, The Author, 2009

Rebecca Gilman, The Sweetest Swing in Baseball, 2005

Doctor FaustusDoctor Faustus: A- and : A- and B-textsB-texts

Doctor FaustusDoctor Faustus: a textual : a textual timelinetimeline

1587:1587: German German FaustbuchFaustbuch (source for much of Marlowe’s play) (source for much of Marlowe’s play) published. published.

c. 1588-93:c. 1588-93: Doctor FaustusDoctor Faustus is written and performed for the first time. is written and performed for the first time.c. 1592:c. 1592: Publication of Publication of The History of the Damnable Life and Deserved The History of the Damnable Life and Deserved

Death of Doctor John FaustusDeath of Doctor John Faustus, P. F’s English translation of the , P. F’s English translation of the German German FaustbuchFaustbuch..

1593:1593: Christopher Marlowe stabbed to death in Deptford, 30 May. Christopher Marlowe stabbed to death in Deptford, 30 May.1594:1594: First recorded performance by the Lord Admiral’s Men at the First recorded performance by the Lord Admiral’s Men at the

Rose Theatre. Henslowe’s diary lists many more performances Rose Theatre. Henslowe’s diary lists many more performances between 1594-7. between 1594-7.

1601:1601: ‘A booke called the plaie of Doctor Faustus’ entered into the ‘A booke called the plaie of Doctor Faustus’ entered into the Stationers’ Register by Thomas Bushell.Stationers’ Register by Thomas Bushell.

1602:1602: Henslowe pays £4 to William Birde and Samuel Rowley for Henslowe pays £4 to William Birde and Samuel Rowley for ‘adicyones in doctor fostes’, 22 November. ‘adicyones in doctor fostes’, 22 November.

1604:1604: A-text printed by Valentine Simmes for Bushell. Reprinted in A-text printed by Valentine Simmes for Bushell. Reprinted in 1609 and 1611.1609 and 1611.

1616:1616: B-text printed for John Wright. Reprinted at least six times 1619- B-text printed for John Wright. Reprinted at least six times 1619-31. B2 (1619) onwards have the phrase ‘With new Additions’ on title 31. B2 (1619) onwards have the phrase ‘With new Additions’ on title page.page.

Doctor FaustusDoctor Faustus: A- and : A- and B-textsB-texts

Scenes unique to B-text:Scenes unique to B-text: The Pope’s humiliation of Saxon Bruno and Faustus’s rescue The Pope’s humiliation of Saxon Bruno and Faustus’s rescue

of Bruno (3.1);of Bruno (3.1); The Benvolio sub-plot, comprising the introductory The Benvolio sub-plot, comprising the introductory

conversation between Martino, Frederick and Benvolio (4.1), conversation between Martino, Frederick and Benvolio (4.1), their plan and attempt to get revenge on Faustus (4.2), and their plan and attempt to get revenge on Faustus (4.2), and his subsequent retaliation (4.3);his subsequent retaliation (4.3);

The clowns’ meeting with the horse-courser in the tavern The clowns’ meeting with the horse-courser in the tavern (4.5) and their subsequent humiliation at the court of the (4.5) and their subsequent humiliation at the court of the Duke of Vanholt (4.6);Duke of Vanholt (4.6);

The appearance of Lucifer, Beelzebub and Mephistopheles at The appearance of Lucifer, Beelzebub and Mephistopheles at the beginning of 5.2;the beginning of 5.2;

The reappearance of Mephistopheles, the Good Angel and the The reappearance of Mephistopheles, the Good Angel and the Bad Angel in the moments before Faustus’s damnation (5.2);Bad Angel in the moments before Faustus’s damnation (5.2);

The final scene featuring the scholars’ discovery of Faustus’ The final scene featuring the scholars’ discovery of Faustus’ remains (5.3).remains (5.3).

Doctor FaustusDoctor Faustus: A- and : A- and B-textsB-texts

Textual anomalies:Textual anomalies: Misplaced scenes: Act 2 Scene 2 is Misplaced scenes: Act 2 Scene 2 is

misplaced in both texts (after 3.1 in A-text misplaced in both texts (after 3.1 in A-text and after 2.3 in B-text); the B-text misplaces and after 2.3 in B-text); the B-text misplaces the Act 3 Chorus; the A-text misplaces the the Act 3 Chorus; the A-text misplaces the Act 4 Chorus.Act 4 Chorus.

Act 3 scene 2 has two endings in A-text: Act 3 scene 2 has two endings in A-text: Mephistopheles enters twice, and Mephistopheles enters twice, and transforms the clowns twice into animals.transforms the clowns twice into animals.

Contradictions over Mephistopheles’ free Contradictions over Mephistopheles’ free will.will.

Printing Printing Doctor Doctor FaustusFaustus ‘‘Compositor X abbreviates Compositor X abbreviates

speech headings and speech headings and punctuates them with a punctuates them with a period, uses an upper-case period, uses an upper-case “E” in “E” in ExitExit directions, prefers directions, prefers --eaea- spellings in words like - spellings in words like yearyear, , deardear, and , and chearchear, prefers , prefers bloudbloud over over bloodblood, and uses -, and uses -llll spellings in words like spellings in words like willwill, , shallshall, and , and hellhell.’.’

‘‘Compositor Y frequently uses Compositor Y frequently uses unabbreviated and unstopped unabbreviated and unstopped speech headings or speech headings or abbreviated speech headings abbreviated speech headings punctuated with a colon. In punctuated with a colon. In contrast to X, Y uses a lower-contrast to X, Y uses a lower-case “e” in case “e” in exitexit directions, directions, prefers -prefers -ee-ee- spellings in words spellings in words like like yeeryeer, , deerdeer, and , and cheercheer, , prefers prefers bloodblood over over bloudbloud, and , and uses single -uses single -ll spellings in spellings in words like words like wilwil, , shalshal, and , and helhel.’ .’ (Rasmussen 1993: 223)(Rasmussen 1993: 223)

Textual transmissionTextual transmissionChristopher

Marlowe

Marlowe’sco-author

Philip Henslowe(manager)

Samuel Rowley(playwright)

Thomas Bushell(publisher)

Lord Admiral’s Men

John Wright (publisher)

William Birde(playwright)

Valentine Simmes (printer)

Printer & compositor(s)

‘Compositor X’

Other playing companies,printers &

compositors‘Compositor Y’

Manuscript

Performance

A-text (1604)

1602 additions

B-text (1616)

????

TheoriesTheories

1) A-text as memorial reconstruction; 1) A-text as memorial reconstruction; B-text as closest to Marlowe’s textB-text as closest to Marlowe’s text

Memorial reconstruction theory Memorial reconstruction theory championed by Leo Kirschbaum (1946) and championed by Leo Kirschbaum (1946) and W. W. Greg (1950)W. W. Greg (1950)

Possible reference in Possible reference in The Merry Wives of The Merry Wives of WindsorWindsor (c. 1597-8) to passage unique in B- (c. 1597-8) to passage unique in B-text:text:

HOST.HOST. Where be my horses? Speak well of them, varletto. Where be my horses? Speak well of them, varletto.BARDOLPH.BARDOLPH. Run away with the cozeners. For so soon as Run away with the cozeners. For so soon as

I came beyond Eton, they threw me off from behind one I came beyond Eton, they threw me off from behind one of them, in a slough of mire, and set spurs and away, of them, in a slough of mire, and set spurs and away, like three German devils, three Doctor Faustuses. like three German devils, three Doctor Faustuses. (4.5.61-5) (4.5.61-5)

TheoriesTheories

2) A-text as memorial reconstruction; 2) A-text as memorial reconstruction; B-text as Rowley and Birde’s 1602 B-text as Rowley and Birde’s 1602 version; Marlowe’s version as lostversion; Marlowe’s version as lost

Fredson Bowers (1973) has argued that both Fredson Bowers (1973) has argued that both surviving texts are corrupted.surviving texts are corrupted.

The B-text must be a revised text because of The B-text must be a revised text because of its inconsistencies: its inconsistencies:

the purpose for the Pope’s feast changes (is it for the purpose for the Pope’s feast changes (is it for St. Peter’s day, or for the Pope’s victory?), St. Peter’s day, or for the Pope’s victory?),

Faustus begs Mephistopheles to stay despite Faustus begs Mephistopheles to stay despite Mephistopheles himself having already suggested Mephistopheles himself having already suggested that they should do so.that they should do so.

TheoriesTheories

3) A-text as closest to Marlowe’s text; B-3) A-text as closest to Marlowe’s text; B-text as Rowley / Birde versiontext as Rowley / Birde version

Memorial reconstruction theory challenged by Memorial reconstruction theory challenged by (among others), Constance Brown Kuriyama (among others), Constance Brown Kuriyama (1975), Michael Warren (1981), Michael H. (1975), Michael Warren (1981), Michael H. Keefer (1983), Eric Rasmussen (1993).Keefer (1983), Eric Rasmussen (1993).

Bevington and Rasmussen list borrowings from Bevington and Rasmussen list borrowings from the A-text in other plays of the 1590s: the A-text in other plays of the 1590s: The The Taming of A ShrewTaming of A Shrew, , MucedorusMucedorus, and , and A Looking-A Looking-Glass for London and EnglandGlass for London and England (1993: 65-6). (1993: 65-6).

Removal of references to ‘Christ’ in B-text Removal of references to ‘Christ’ in B-text suggest a theatrical text post 1606 (when a suggest a theatrical text post 1606 (when a parliamentary act forbade the use on stage of parliamentary act forbade the use on stage of ‘the holy name of God or of Christ Jesus’).‘the holy name of God or of Christ Jesus’).

Aesthetic superiority?Aesthetic superiority?

A-text’s ‘aesthetic A-text’s ‘aesthetic superiority’superiority’

Michael H. Keefer argues that the A-text is Michael H. Keefer argues that the A-text is ‘aesthetically preferable to the B-version’ (1983: ‘aesthetically preferable to the B-version’ (1983: 324):324): Benvolio’s sense of impugned honour as inconsistent Benvolio’s sense of impugned honour as inconsistent ‘‘Feebleness’ of final clown scene Feebleness’ of final clown scene

‘…‘…the B-text episodes of Benvolio’s revenge and the the B-text episodes of Benvolio’s revenge and the horse-courser’s leg-pulling and its consequences horse-courser’s leg-pulling and its consequences make Faustus no longer human, but a kind of make Faustus no longer human, but a kind of monstrous amphibian … This disruption in the B-text monstrous amphibian … This disruption in the B-text of the play’s patterns of meaning and its rhetorical of the play’s patterns of meaning and its rhetorical decorum has serious consequences. For if Faustus is decorum has serious consequences. For if Faustus is going to become once more in the last act of the play going to become once more in the last act of the play a human being, a tragic figure, then a major re-a human being, a tragic figure, then a major re-adjustment of the audience’s responses is necessary.’ adjustment of the audience’s responses is necessary.’ (1983: 345)(1983: 345)

Text and performanceText and performance

Were both texts performed?Were both texts performed? Stage directions in A-textStage directions in A-text Theatrical demands of B-textTheatrical demands of B-text

PropsProps Special effectsSpecial effects CastCast SpaceSpace

Contrasting climaxesContrasting climaxes

Contemporary Contemporary disapproval of clowning disapproval of clowning

scenesscenes ‘…‘…all their plays be neither right tragedies, nor right all their plays be neither right tragedies, nor right comedies, mingling kings and clowns, not because the comedies, mingling kings and clowns, not because the matter so carrieth it, but thrust in clowns by head and matter so carrieth it, but thrust in clowns by head and shoulders, to play a part in majestical matters, with neither shoulders, to play a part in majestical matters, with neither decency nor discretion, so as neither the admiration and decency nor discretion, so as neither the admiration and commiseration, nor the right sportfulness, is by their commiseration, nor the right sportfulness, is by their mongrel tragi-comedy obtained.’ mongrel tragi-comedy obtained.’

(Sir Philip Sidney, (Sir Philip Sidney, Apology for PoetryApology for Poetry, c.1579 [published , c.1579 [published 1595])1595])

……midst the silent routmidst the silent routComes leaping in a self-misformed lout,Comes leaping in a self-misformed lout,And laughs, and grins, and frames his mimic face,And laughs, and grins, and frames his mimic face,And justles straight into the prince’s place;And justles straight into the prince’s place;Then doth the theatre echo all aloud,Then doth the theatre echo all aloud,With gladsome noise of that applauding crowd.With gladsome noise of that applauding crowd.A goodly hotch-potch! when vile russetingsA goodly hotch-potch! when vile russetingsAre match’d with monarchs, and with mighty kings.Are match’d with monarchs, and with mighty kings.

(Dr Joseph Hall, ‘Virgidemiarum’, 1597)(Dr Joseph Hall, ‘Virgidemiarum’, 1597)

Clowning and textClowning and text Preface to Marlowe’s Preface to Marlowe’s TamburlaineTamburlaine by printer by printer

Richard Jones, 1590:Richard Jones, 1590: ‘‘I have purposely omitted and left out some fond I have purposely omitted and left out some fond

and frivolous jestures, digressing, and, in my poor and frivolous jestures, digressing, and, in my poor opinion, far unmeet for the matter, which I thought opinion, far unmeet for the matter, which I thought might seem more tedious unto the wise than any might seem more tedious unto the wise than any way else to be regarded, though haply they have way else to be regarded, though haply they have been of some vain-conceited fondlings greatly been of some vain-conceited fondlings greatly gaped at, what time they were shewed upon the gaped at, what time they were shewed upon the stage in their graced deformities: nevertheless now stage in their graced deformities: nevertheless now to be mixtured in print with such matter of worth, it to be mixtured in print with such matter of worth, it would prove a great disgrace to so honourable and would prove a great disgrace to so honourable and stately a history.’stately a history.’

Arguably, though, such scenes are an Arguably, though, such scenes are an important (if not fully integrated) part of early important (if not fully integrated) part of early modern drama. modern drama.

LocusLocus and and plateaplatea

In his influential study In his influential study Shakespeare Shakespeare and the Popular Tradition in the and the Popular Tradition in the Theatre Theatre (1978, reprinted 1987), (1978, reprinted 1987), Robert Weimann identified a ‘dual Robert Weimann identified a ‘dual perspective’ in Elizabethan drama perspective’ in Elizabethan drama which ‘encompasses conflicting which ‘encompasses conflicting views of experience’ (1987: 243).views of experience’ (1987: 243).

Weimann analysed this in terms of Weimann analysed this in terms of locuslocus and and plateaplatea..

LocusLocus and and plateaplatea

LocusLocus and and plateaplateaLocusLocus Localised setting (e.g. a Localised setting (e.g. a

palace, a house): “a palace, a house): “a rudimentary element of rudimentary element of verisimilitude” (Weimann verisimilitude” (Weimann 1987: 75);1987: 75);

Mimesis; Mimesis; High status characters: High status characters:

royalty, nobility, ‘Virtues’;royalty, nobility, ‘Virtues’; Sacred;Sacred; Heightened language Heightened language

(usually verse);(usually verse); Officially sanctioned Officially sanctioned

historical narratives;historical narratives; ElevationElevation

PlateaPlatea Unlocalised setting (literally Unlocalised setting (literally

a ‘place’): “a theatrical a ‘place’): “a theatrical dimension of the real dimension of the real world” (Weimann 1987: 76);world” (Weimann 1987: 76);

Direct address and Direct address and audience interaction;audience interaction;

Low status characters: Low status characters: rustics, clowns, servants, rustics, clowns, servants, ‘Vices’;‘Vices’;

Profane;Profane; Vernacular language Vernacular language

(prose);(prose); Anachronistic subversion;Anachronistic subversion; Debasement and satireDebasement and satire

LocusLocus and and plateaplatea

‘What is involved is not the confrontation of the world and time of the play with that of the audience, or any serious opposition between representational and non-representational standards of acting, but the most intense interplay of both’ (Weimann 1987: 80-1).

Example: The Second Shepherds’ Pageant (Wakefield cycle) Anachronism Blasphemy Parody

PlateaPlatea dramaturgy in dramaturgy in Doctor FaustusDoctor Faustus

AnachronismAnachronism Clowns’ names: Robin and Rafe/Dick, ‘Nan Spit’Clowns’ names: Robin and Rafe/Dick, ‘Nan Spit’ Implied Englishness on French/English jokes (A-Implied Englishness on French/English jokes (A-

text: 1.4)text: 1.4) Social classSocial class Bawdy humourBawdy humour Presence of audiencePresence of audience

WAGNER.WAGNER. (to audience)(to audience) Bear witness I gave them him. Bear witness I gave them him.

ROBIN.ROBIN. Bear witness I gave them you again. (A-text: Bear witness I gave them you again. (A-text: 1.4.41-2)1.4.41-2)

PlateaPlatea dramaturgy in dramaturgy in Doctor FaustusDoctor Faustus

Audience space, the profane, and damnation:Audience space, the profane, and damnation:

PRIDE.PRIDE. But fie, what a scent is here! (2.3.111) But fie, what a scent is here! (2.3.111)

COVETOUSNESS.COVETOUSNESS. …and might I have my wish, I would …and might I have my wish, I would desire that this house and all the people in it were turned desire that this house and all the people in it were turned to gold, that I might lock you up in my good chest. to gold, that I might lock you up in my good chest. (2.3.116-8)(2.3.116-8)

WRATH.WRATH. … I was born in hell, and look to it, for some of … I was born in hell, and look to it, for some of you shall be my father. (2.3.124-5)you shall be my father. (2.3.124-5)

Mephistopheles spells out spatial relationship:Mephistopheles spells out spatial relationship: ‘…‘…this is hell, nor am I out of it’ (1.3.77) this is hell, nor am I out of it’ (1.3.77) ‘‘I am damned and am now in hell’ (2.1.137)I am damned and am now in hell’ (2.1.137)

Clowning as unofficial Clowning as unofficial speechspeech

Note use of prose and repetitions:Note use of prose and repetitions:

WAGNER.WAGNER. Alas, poor slave, see how poverty Alas, poor slave, see how poverty jesteth in his nakedness! The villain is bare and jesteth in his nakedness! The villain is bare and out of service, and so hungry that I know he out of service, and so hungry that I know he would give his soul to the devil for a shoulder of would give his soul to the devil for a shoulder of mutton, though it were blood-raw.  mutton, though it were blood-raw.  

ROBIN.ROBIN. How? My soul to the Devil for a shoulder How? My soul to the Devil for a shoulder of mutton, though ’twere blood-raw? Not so, good of mutton, though ’twere blood-raw? Not so, good friend. By’r Lady, I had need have it well roasted friend. By’r Lady, I had need have it well roasted and good sauce to it, if I pay so dear. (A-text: and good sauce to it, if I pay so dear. (A-text: 1.4.6-12)1.4.6-12)

Clowning as unofficial Clowning as unofficial speechspeech

Note use of ‘etc.’ in 3.2 (A-text):Note use of ‘etc.’ in 3.2 (A-text):ROBIN.ROBIN. I scorn you, and you are but a etc. I scorn you, and you are but a etc.

(3.2.10-11)(3.2.10-11)

ROBIN.ROBIN. Polypragmos Belseborams framanto Polypragmos Belseborams framanto pacostiphos tostu Mephistophelespacostiphos tostu Mephistopheles, etc. (3.2.26-7), etc. (3.2.26-7)

One of 26 plays of the period to use One of 26 plays of the period to use ‘etc.’ in this way‘etc.’ in this way

Legality?Legality? Why unofficial speech?Why unofficial speech?

Clowning as parodic echo Clowning as parodic echo Robert Ornstein: ‘the slapstick scenes which Robert Ornstein: ‘the slapstick scenes which

tickled groundling fancies unite with the tickled groundling fancies unite with the seemingly fragmented main action to form a seemingly fragmented main action to form a subtly ironic tragic design.’ (1955: 165)subtly ironic tragic design.’ (1955: 165) Selling one’s soul ‘for a shoulder of mutton’Selling one’s soul ‘for a shoulder of mutton’ Image of Robin with book in magic circleImage of Robin with book in magic circle Anticipation of dismembermentAnticipation of dismemberment ‘‘Nan Spit’ / Helen of TroyNan Spit’ / Helen of Troy Snatching of Pope’s cup / Vintner’s gobletSnatching of Pope’s cup / Vintner’s goblet Incantation (culminating in summoning of Incantation (culminating in summoning of

Mephistopheles)Mephistopheles) Difference between endings of clown sub-plot in Difference between endings of clown sub-plot in

A-text and B-text: metaphor for damnation?A-text and B-text: metaphor for damnation?

Speech, text, Speech, text, performanceperformance

Some concluding questions:Some concluding questions: What is the relationship between what What is the relationship between what

is performed and what is written?is performed and what is written? What is ‘authorised’? What is not? Does What is ‘authorised’? What is not? Does

it matter?it matter? What is What is Doctor FaustusDoctor Faustus? ? WhereWhere is it? is it?

ReferencesReferences Bevington, D. & Rasmussen, E. [eds] (1993) Bevington, D. & Rasmussen, E. [eds] (1993)

Doctor Faustus: A- and B-texts (1604, 1616)Doctor Faustus: A- and B-texts (1604, 1616), , Manchester: MUP. Manchester: MUP.

Bowers, F. (1973) ‘Marlowe’s Bowers, F. (1973) ‘Marlowe’s Doctor FaustusDoctor Faustus: The : The 1602 Additions’, 1602 Additions’, Studies in BibliographyStudies in Bibliography 26, 1-18. 26, 1-18.

Greg, W. W. [ed.] (1950) Greg, W. W. [ed.] (1950) Marlowe’s Doctor Marlowe’s Doctor Faustus, 1604-1616Faustus, 1604-1616, Oxford: Clarendon., Oxford: Clarendon.

Keefer, M. H. (1983) ‘Verbal Magic and the Keefer, M. H. (1983) ‘Verbal Magic and the Problem of the A and B Texts of Problem of the A and B Texts of Doctor FaustusDoctor Faustus’, ’, Journal of English and Germanic PhilologyJournal of English and Germanic Philology, 82:3, , 82:3, 324-46.324-46.

Kirschbaum, L. (1946) ‘The Good and Bad Kirschbaum, L. (1946) ‘The Good and Bad Quartos of Quartos of Doctor FaustusDoctor Faustus’, ’, The LibraryThe Library 26, 272- 26, 272-94.94.

ReferencesReferences Kuriyama, C. B. (1975) ‘Dr. Greg and Doctor Faustus: Kuriyama, C. B. (1975) ‘Dr. Greg and Doctor Faustus:

The Supposed Originality of the 1616 Text’, The Supposed Originality of the 1616 Text’, English English Literary RenaissanceLiterary Renaissance 5, 171-197. 5, 171-197.

Ornstein, R. (1955) ‘The Comic Synthesis in Ornstein, R. (1955) ‘The Comic Synthesis in Doctor Doctor FaustusFaustus’, ’, ELHELH, 22:3, 165-72., 22:3, 165-72.

Rasmussen, E. (1993) ‘Rehabilitating the A-Text of Rasmussen, E. (1993) ‘Rehabilitating the A-Text of Marlowe’s Marlowe’s Doctor FaustusDoctor Faustus’, ’, Studies in BibliographyStudies in Bibliography 46, 46, 221-38.221-38.

Warren, M. (1981) ‘Warren, M. (1981) ‘Doctor FaustusDoctor Faustus: The Old Man and : The Old Man and the Text’, the Text’, English Literary RenaissanceEnglish Literary Renaissance 11, 111-147. 11, 111-147.

Weimann, R. (1987) Weimann, R. (1987) Shakespeare and the Popular Shakespeare and the Popular Tradition in the Theater: Studies in the Social Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and FunctionDimension of Dramatic Form and Function, , Baltimore/London: Johns Hopkins University Press.Baltimore/London: Johns Hopkins University Press.