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24 Understandably, Faustus 19 A Second and Third Blast 6, 13. 20 Anatomie of Abuses LB4, LB3. 21 Anatomie of Abuses LB6. 22 Plays Confuted in Five Actions B8v. 23 Histriomastix (1633; New York: Garland, 1974) 916. Although Histriomastix was published many years after the composition of Doctor Faustus, I would argue that as a compendium of antitheatrical diatribes published during the sixteenth and early seventeenth centuries, it is very relevant to my discussion. 24 All quotations from Doctor Faustus are taken from Doctor Faustus: A and B Texts (1604, 1616), ed.
See also Lyly, “The Prologue at the Court,” Campaspe, ed. R. Warwick Bond. vol. 2. (1902; Oxford: Clarendon, 1967) 316. 33 All quotations from Shakespeare are taken from the edition edited by David Bevington, The Complete Works of Shakespeare, 4th ed. (New York: HarperCollins, 1992). All citations will be included within the text of this essay. 22 Placing the Plays of Christopher Marlowe players with “shadows” probably derives ultimately from Plato, who denigrated all art, including the drama, as an imitation of an imitation, or a shadow of a shadow.
Two recent studies of early modern audiences with some relevance to Marlowe are Anthony B. Dawson and Paul Yachnin, The Culture of Playgoing in Shakespeare’s England: A Collaborative Debate (Cambridge: Cambridge University Press, 2001) and Jeremy Lopez, Theatrical Convention and Audience Response in Early Modern Drama (Cambridge: Cambridge University Press, 2003). 2 Andrew Gurr, Playgoing in Shakespeare’s London (Cambridge: Cambridge University Press, 1987) 132; 135–53. 3 Explanations of audience response in the playhouses have focused on either theatrical pleasure and/or ambivalence.