In this paper, I am going to show that the play "Cambises" by Thomas Preston is a very complex play combining different kinds of traditions, namely the morality play, the history play, the (de casibus) tragedy, and the comedy or farce.
After some general remarks concerning the time the play was written, its author, the content of the play and Shakespeare’s knowledge of the play, I am going to explain in detail how each of these traditions comes into play by showing in how far the play matches the definitions of each tradition. This will be followed, in each instance, by a hypothesis about the different traditions’ intentions. I will, then, briefly look at the influence of Orientalism on the play. The conclusion will, first of all, sum up this paper, and, afterwards, address some open questions that could not be addressed in this paper but would still be interesting to look at in order to get a better understanding of the play.
Table of Contents
I INTRODUCTION
A Time and Authorship
B The play
1. General Remarks
2. Content
a A Virtuous King
b Three Evil Actions Initiating Cambises’ Fall From Virtue
c Two More Evil Actions Leading to Cambises’ Death
C Shakespeare and Cambises
II MAIN PART
A A Hybrid Play
1. A Morality Play
a Definition
b Elements of the Morality Play in Cambises
i Ambidexter
ii Morality Abstractions
iii Symbols of Sin
c Intention
2. A History Play
a Definition
b Elements of the History Play in Cambises
i Cambyses
ii Mary
iii Henry VIII
c Intention
3. A (De Casibus) Tragedy
a Definition
b Elements of the (De Casibus) Tragedy in Cambises
c Intention
4. Farce/Comedy
a Definition
b Elements of the Farce/Comedy in Cambises
i Ambidexter’s role
ii Comic interludes
c Intention
B Orientalism in Cambises
1. Edward Said’s “Orientalism”
2. Orientalism on stage
3. Intention
III CONCLUSION
A Summary
B Open Questions
IV WORKS CITED
Research Objectives and Themes
This paper examines the complex hybrid nature of Thomas Preston's play "Cambises," arguing that it synthesizes diverse theatrical traditions including the morality play, the history play, the (de casibus) tragedy, and farce/comedy to create a multifaceted didactic work.
- Analysis of "Cambises" as a synthesis of disparate dramatic genres.
- Investigation of the play's didactic intentions and moral warnings.
- Evaluation of the influence of Elizabethan political context and contemporary events.
- Examination of the play's "Orientalist" framing of Persian history.
- Assessment of the structural and thematic role of the "Ambidexter" figure.
Excerpt from the Book
i Ambidexter
Ambidexter is the traditional vice figure, personifying the vice of playing with both hands.
Amb. My name is Ambidexter, I signifie one, That with bothe hands finely can play: Now with king Cambices and by and by gone, Thus doo I run this and that way. For while I meane with a Souldier to be, Then give I a leape to Sisamnes the Judge: I dare avouch, ye shall his destruction see, To all kinde of estates I meane for to trudge. Ambidexter, nay he is a fellow if ye knew all: Cease for a wile, hereafter hear more ye shall. Cambises 150 ff.
Hill considers him, thematically, as well as structurally, to be central to the play. Ambidexter links sequences of serious dialogue and guides the audience’s interpretation of the play. Moreover, he does not do what he actually should, for instance when he is dressed up as a Christian soldier: He provokes a fight with Huf, Ruf, and Snuf even though the three men have not offended him at all.
Summary of Chapters
I INTRODUCTION: Provides an overview of the play's authorship, dating, and the research hypothesis regarding its hybrid generic structure.
II MAIN PART: Analyzes the individual traditions—morality play, history play, tragedy, and farce—and explores the influence of Orientalism on the play's themes.
III CONCLUSION: Summarizes the integration of these traditions and suggests further research paths regarding the play's source material and Orientalist themes.
IV WORKS CITED: Lists the academic resources and primary texts utilized in the analysis.
Key Words
Cambises, Thomas Preston, morality play, history play, (de casibus) tragedy, farce, Ambidexter, Elizabethan theatre, Orientalism, didacticism, tyranny, hybridity, Shakespeare, literary criticism, drama analysis.
Frequently Asked Questions
What is the primary focus of this academic paper?
The paper examines the hybrid nature of the play "Cambises" by Thomas Preston, focusing on how it combines four distinct dramatic traditions into a single work.
Which dramatic genres are identified in the play?
The work identifies four specific traditions: the morality play, the history play, the (de casibus) tragedy, and the farce or comedy.
What is the core research objective?
The objective is to demonstrate that "Cambises" is a complex, transitional work that uses these diverse styles to deliver didactic messages and political warnings.
What scientific methodology is applied?
The author uses literary analysis, contextualizing the play within Elizabethan history and comparing it with contemporary sources and dramatic traditions.
What is covered in the main section of the paper?
The main part details how specific elements of each genre—such as the "vice" figure Ambidexter or the tragedy of the "de casibus" model—manifest within the text of "Cambises."
Which keywords best characterize the research?
Keywords include Cambises, hybridity, morality play, Elizabethan theatre, and Orientalism.
Who is the protagonist of the play and why is he significant?
The protagonist is King Cambises of Persia, who serves as a case study in the degeneration of a ruler from a virtuous figure into a tyrant.
What is the significance of the character "Ambidexter"?
Ambidexter is the play's "vice" figure, acting as both a comic character and a structural link that exposes the folly and moral corruption of other characters.
How does the author connect the play to Shakespeare?
The author compares lines from "Cambises" to works like "Henry IV" and "A Midsummer Night’s Dream," suggesting that Shakespeare was familiar with Preston’s play.
What role does Orientalism play in the analysis?
The author suggests that the setting of Persia allowed the audience to distance themselves from domestic English troubles while using Orientalist tropes to define their own European identity.
- Quote paper
- Stephanie Wössner (Author), 2004, Thomas Prestons "Cambises". A hybrid play, Munich, GRIN Verlag, https://www.grin.com/document/138113
