THE D I S G U I S E M O T I V
(= Loss of identity) of Shakespeare's plays
clearly had autobiographical roots!
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| K.A:Quarmby |
the "disguised ruler motif" .
In single chapters his analysis includes Shakespeare's “Measure for Measure”, Marston's“The Malcontent”/“The Fawn”, Middleton's “The Phoenix” and Sharpham's “The Fleire”.
Web reviews of Quarmby's book tell us that (whereas "disguised ruler plays are typically interpreted as synchronic political commentaries about King James") "Quarmby destabilizes some idée fixes of the Shakespeare field – for instance, the idea, often promulgated, that the Friar in "Measure for Measure" is a reflection of James I."
It has long been known that no plot device is more constantly recurrent in Shakespearean drama than is disguise.- Shakespeare injects masquerade into 25 of his comedies, tragedies and chronicle plays.- His intent in bringing a disguised figure onto stage is always to conceal the identity of one ore more characters from other persons in the play.-
To those "Non-Stratfordians" accepting the enlarged authorship Thesis of Marlowe's life catastrophy'
Web reviews of Quarmby's book tell us that (whereas "disguised ruler plays are typically interpreted as synchronic political commentaries about King James") "Quarmby destabilizes some idée fixes of the Shakespeare field – for instance, the idea, often promulgated, that the Friar in "Measure for Measure" is a reflection of James I."
To those "Non-Stratfordians" accepting the enlarged authorship Thesis of Marlowe's life catastrophy'
(In brief: after a state-supported "false flag" life rescue operation feigning his death, May 1593 , Marlowe was permanently forced to change identity and name and write under many Pseudonyms throughout his longlasting life).
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......it becomes evident that
a) not only the disguise motif itself, but
b) also the motif of constantly alternating "pseudo-author-names"
has belonged to the predominant autobiographical literary influences and topics of an author, who permanently had lost his identity and name.-
What may Quarmby have led to his escapist results? Is he aware of the complex
problems of Marston's/ Webster's, Middleton's and Sharpham's authenticity
and of the totally missing "disguise motifs" of Shakspeare ,
the Stratford business man ?
Will anybody make us really believe that the predominant disguise motif (loss of identity) of Shakespeare's plays had no autobiographical roots?
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