Let me introduce the structure outline of my paper: In a first step, I’m going to have a close look at the nature of homosexuality and male friendships in Elizabethan England. In this part, I will mainly refer to theories put forward by Paul Hammond in his essay “The Renaissance“ as well as in Mario DiGangi’s essay “Marlowe, Queer Studies, and Renaissance Homoeroticism“.
The Elizabethan “concept” of homosexuality actually differs greatly from what we might expect and may even seem bewildering at first. However, to create in our minds a picture of the Elizabethan culture, we will have to make an effort to let go of the clichés that are anchored in our own. In doing so, we can only rely on the few historical sources we have about Elizabethan culture. Therefore, we have to remember that we can never truly recreate the big picture. Here, Thomas Laqueur’s milestone book Making Sex as well as Ina Schabert’s chapter about the one-sex model from Englische Literaturgeschichte. Eine neue Darstellung aus der Sicht der Geschlechterforschung will come in support of my theories.
The following chapter will be devoted to the status of sodomy in Renaissance England. It is vitally important to understand its political dimension, as suggested by both Alan Bray and Mario DiGangi, and the threat it was said to have exercised on the Elizabethan order of the universe.
In a final step, I’m hoping to offer a new explanation for the allegation of sodomy against Christopher Marlowe as expressed in the Baines Libel. I will try to further the debate about this doubtful document by establishing a connection with Sara Munson Deats and Lisa S. Starks’s article “’So neatly plotted, and so well performed’: Villain as Playwright in Marlowe’s The Jew of Malta”. The notion of the theatre will thus come to play an important part in my interpretation of the Baines Libel.
Each part of my work will also include a substantial amount of text analysis in support of the interpretations offered.
Table of Contents
1. Introduction
2. Homosexuality and Male Friendships in Elizabethan England
2.1. “Homosociety” and the One-Sex Model
2.2. Friendships and Love
3. The Status of Sodomy
3.1. In Terms of Law
3.2. The Libel against Edward II
3.3. The Baines Libel
4. The Theatre as Sodomite
4.1. Mistaken Identity
4.2. The Pleasure and Peril of Dramatic Art
5. Conclusion
Research Objectives and Themes
This paper aims to investigate the intersections of theatricality, power, and the historical concept of "sodomy" in Renaissance England, specifically through the lens of Christopher Marlowe's play Edward II and the Baines Libel. The central research question explores why Marlowe was charged with sodomy and how the theater itself functioned as a subversive, "sodomitical" space that challenged the Elizabethan social and political order.
- The construction of homosexuality and male friendship in Elizabethan culture.
- The political dimension of "sodomy" as a term used to secure social order.
- Textual analysis of Edward II regarding themes of decadence, rank, and political failure.
- The role of the Baines Libel in the criminalization of Marlowe's artistic identity.
- The theater as a site of potential rebellion and its associated perils for the playwright.
Excerpt from the Book
3.1. In Terms of Law
In Renaissance England, the punishment set out for sodomy was the death penalty. But homosexual sex didn’t usually lead to a conviction for sodomy. We have to keep in mind that, unlike in Germany, male friendships constituted a natural part of the homosocial Elizabethan society. In Germany, though, homosexuality was neither socially accepted nor legal. In this context, it is important to note that German “Sodomie“ is not the equivalent of English “sodomy“ because German “Sodomie“ implies anal intercourse with animals. As a fact, homosexuals were always regarded as outcasts, with the exception of the 1920s when in the bar scene of Berlin homosexuality and androgyny were very much en vogue.
More importantly still, until as late as the mid-1990s, a certain paragraph 175, dating back to 1851, was implemented in the German Constitution, which prohibited homosexuality as such as well as all homosexual practices. It was severed by the Nazis and adopted by the founding fathers of the Federal Republic of Germany in 1949 without undergoing any change. The Nazi revision of the paragraph of September 1st, 1935 states that all homosexual practice gives rise to criminal prosecution and is punished with up to 10 years’ imprisonment.
§175 was finally loosened in 1969. This year brought homosexuals already a big step ahead towards acceptance. Homosexuality as such was no longer considered a crime. At least, homosexuals were finally granted freedom of mind. However, the act of two men having sex with one another remained a dirty and punishable practice.
Summary of Chapters
1. Introduction: This chapter introduces the historical mystery surrounding Christopher Marlowe's death and defines the paper's goal of examining the relationship between his dramas and the social dangers of theatrical expression.
2. Homosexuality and Male Friendships in Elizabethan England: The chapter explores the Elizabethan "homosocial" culture and the "one-sex model," arguing that identities were not fixed to sexual preferences in the modern sense.
3. The Status of Sodomy: This section investigates the legal and political definitions of sodomy in both Elizabethan England and Germany, demonstrating how the charge was used as a political weapon against those threatening the status quo.
4. The Theatre as Sodomite: The chapter connects the subversive nature of theater to the allegations against Marlowe, suggesting that his role as an author was misinterpreted as an authentic threat to the social order.
5. Conclusion: The conclusion synthesizes the argument, asserting that Marlowe was a victim of his own theatrical power, which authorities perceived as a dangerous force capable of inciting rebellion.
Keywords
Christopher Marlowe, Edward II, The Baines Libel, Sodomy, Elizabethan England, Homosociality, One-Sex Model, Theatre, Theatricality, Political Order, Queer Studies, Dramatic Art, Renaissance, Aesthetic Detachment, Mistaken Identity
Frequently Asked Questions
What is the core focus of this research paper?
The paper examines the intersection of Elizabethan social structures, the legal definition of "sodomy," and the subversive power of the theater as depicted in Christopher Marlowe's life and works.
What are the primary themes discussed in the work?
Key themes include the historical distinction between male friendship and modern homosexuality, the political weaponization of religious and moral accusations, and the perceived danger of the theater to Elizabethan hierarchies.
What is the main objective of the study?
The primary goal is to explain why Christopher Marlowe was targeted with allegations of sodomy by exploring the link between his plays, the Baines Libel, and the contemporary fear of dramatic art's influence on public order.
Which academic methods are utilized for this analysis?
The author employs a combination of historical contextualization, analysis of primary literary texts (such as Edward II and The Jew of Malta), and the application of theoretical concepts from scholars like Michel Foucault, Jonathan Goldberg, and Thomas Laqueur.
What topics are covered in the main body of the paper?
The main body covers the Elizabethan understanding of gender and friendship, the legal and political history of sodomy, an analysis of the accusations in the Baines Libel, and the theatrical motif of the playwright as a subversive actor.
Which keywords best characterize this research?
Key terms include Christopher Marlowe, Sodomy, Elizabethan England, Homosociality, Theatricality, and Political Subversion.
How does the author connect the Baines Libel to Marlowe’s work?
The author argues that the structures of the accusations in the Baines Libel mirror the themes of corruption and social disruption found in Marlowe's plays, leading to a "mistaken identity" where the author was held responsible for the ideas expressed by his characters.
What specific role does the play "Edward II" play in this study?
Edward II serves as a case study for how characters of low social rank (like Gaveston) could be viewed as "sodomites" who threaten the social order, thereby framing the king's associations as a political failure.
- Quote paper
- Vanessa Schnitzler (Author), 2005, Theatricality and sodomy in Christopher Marlowe’s "Edward II", Munich, GRIN Verlag, https://www.grin.com/document/81056
