Dekker and Heywood: Professional Dramatists by Kathleen E. McLuskie

By Kathleen E. McLuskie

During this addition to the English Dramatists sequence, Kathleen McLuskie makes use of the paintings of Dekker and Heywood to enquire the connection among performs and the cultural second into which they're produced. As specialist playwrights, Dekker and Heywood debated and built the types of renowned theatre and engaged over an extended interval with the altering politics of tradition, faith and nation. Their paintings, and this publication, offer an perception into the operating context of Shakespeare and of his most crucial contemporaries.

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I, p. 325) This sense that the characters are both morally responsible for their actions and yet providence is the ruling historical force creates interesting dissonances in the politics of this play. The queen is given a symbolic radiance, a religiOUS status which makes it impossible for her to act with any politic involvement in the affairs of state and yet villains are punished and the connection between mercy and political skill is discernible but not emphasised. The dramaturgy thereby re-enacts an important principle both of Elizabeth's own careful propaganda and a principal aspect of popular politics: the status of, and loyalty to, the monarch, especially Queen Elizabeth, is kept secure.

Moreover that contradiction was a result of the plays being driven by theatrical, as much as political considerations. The eclectic use of available theatrical effects, the pathos and the comedy were all mobilised for the action, often in such as way as to work against the plays' obvious political direction. Clown figures, in particul~ destabilised the plays' politics by providing a mocking comic perspective on the action which had to be neutralised in their final resolutions. 54 Prentices, Citizens and the London Audience 55 A similar tension between comic dramaturgy and ideological coherence is evident in Dekker and Heywood's plays which dealt with the glorification of London.

The rhetoric of innocence, true royal blood and commitment to true religion are all used to sustain her image and make her not only a powerful political icon but also a powerful presence on the stage. This combination of politics and theatre is especially evident in the low-life characters who comment on the action. The white coats sent to guard the imprisoned queen acknowledge that they have no right to deal in state affairs: But beware of talking of the Princess. Lets meddle with our kindred; there we may be bold.

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