Christopher Marlowe & Moliere

Among them were Marlowe, Thomas Kyd, John Lyly, and Robert Greene. Marlowe stands out(p) among this group as a rebel who, because of his reckless re mark almost religion, though not very horrifying to modern ears, were sufficiently unorthodox to attract some animosity from the prevailing politics and from some of his friends, especially Robert Greene, who particularly loathed the audacious and more self-made playwright. In fact, "a series of second-rate imitations like Robert Greene's Alphonsus of Arragon followed Tamburlaine, moreover Marlowe had meanwhile moved ahead" (Gassner, 1940, 207). Marlowe displayed prolific talent in his 29 years, consistently outdistancing his contemporaries, with the exception of Shakespeare, who was only 23, and already an gross(a) poet when he saw one of the early performances of Tamburlaine (Burdick, 1974, 63).

Marlowe's next unravel was probably The Jew of Malta. This play, which unquestionably influenced Shakespeare's Merchant of Venice, is the story of a sozzled Jewish merchant whose daughter deserts him for a Christian, whose riches is lost, and whose iniquitous designs are foiled at last.

Perhaps Marlowe's superior work, Doctor Faustus, tells the story of the real Dr. Johannes Faustus, who took his degree at Heidelberg in 1509, and who, according to legend, sold his soul to the devil. Goethe, whose Faust treats the same themes, greatly prise his Elizabethan pre

Another typical of modern art in general, and the theater is no exception, is the insurrection of conventional forms of expression. "The most striking and perhaps the most distinct observer of this general insurrection and its specific application was Antonin Artaud" (Burdick, 1974, 146). contempt a brain abnormality, Artaud's extraordinary powers of observation allowed him to study the disintegration of his deliver mind with the "objectivity of a scientist and the subjectivity of a poet" (Burdick, 1974, 146). He believed that words themselves were an ineffective means of direct discourse; therefore, he preferred to use gestures, cries, and ritual to reach a defenseless area of communication.

In order to shock the audience, and and then win the necessary response, the extremes of human nature (often madness or perversion) are graphically depicted on the stage. "The style of material playing is more important than the texts performed" (Encyclopedia Britannica Macropaedia, v. 27, 1985, 544). Unappreciated in his own country (French audiences detested his The Cover, and critics abused it), it was not until 1966 that Britain's Royal Shakespeare community undertook a series of experimental performances of his work. His theater of cruelty, as it came to be known, is also associated with the work of Jean Genet, dramatist of The Balcony.

"Doctor Faustus marks the flood tide of Marlowe's genius. Whether he lived to write more, or died in his twenties, the light of glory would lie upon the pages of his work forever . . . by the end of 1590, no other writer's work could compare with his for sight and splendor of diction. He had created a masterpiece, the lot of few makers" (Norman, 1960, 125).

Tartuffe was performed intermittently, sometimes being permitted by King Louis, sometimes not, so that MoliFre had to shimmer out other productions to fill the void. Although irregularly backed by the King, this thoughtful and well considered drama was permitted to b
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