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By Mark Burnett

Developing 'Monsters' in Shakespearean Drama and Early smooth tradition argues for the an important position of the 'monster' within the early smooth mind's eye. the writer lines the metaphorical value of 'monstrous' types throughout a number of early sleek exhibition areas - fairground monitors, 'cabinets of interest' and courtroom entertainments - to contend that the 'monster' reveals its such a lot fascinating manifestation within the investments and practices of latest theater. The study's new readings of Shakespeare, Marlowe, and Jonson make a strong case for the drama's contribution to debates concerning the 'extraordinary body'.

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Extra resources for Constructing 'Monsters' in Shakespearean Drama and Early Modern Culture

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His lofty brows in folds do figure death, And in their smoothness amity and life; About them hangs a knot of amber hair . . On which the breath of heaven delights to play . . His arms and fingers long and sinewy, Betokening valour and excess of strength: In every part proportioned like the man Should make the world subdued to Tamburlaine. 12 Like a ‘presenter of the properties’, or even an in-play Prologue, Menaphon itemizes the bodily features of the Scythian in a catalogue that utilizes the strategies of the poetic blazon, a descriptive tradition devoted to inscribing, in Elizabeth Cropper’s words, ‘ideal types .

79 A contemporary verse about the ‘strange . . 80 The seventeenth-century ‘cabinet’ of the Coventry anatomist Nehemiah Grew included ‘the entire skin of a Moor’, while the early eighteenthcentury museum of the naturalist John Morton displayed among its ‘Northamptonshire rarities’ a ‘monstrous young Quail . . 81 In these combinations, as with early modern ‘monster’ exhibitions, a fascination with racial alterity and ‘unnatural’ multiplicity is clearly evident. Like the fairground demonstrations to which they were related, ‘cabinets of curiosity’ borrowed from a parallel interest in the unfolding ‘natural’ wonders of the New World, dissolving boundaries between the animal and the human, and instances of unfamiliar species.

10 One might suggest, then, that Tamburlaine, as part of his aspiration for dominion, dresses himself in conventional clothes, in the not so much ‘strange’ as familiar image of the divinely sanctioned ruler. Wonder will furnish Tamburlaine with the means of showing himself a successful leader; at the same time, it leaves open the possibility of aggrandizement and immortalization through his association with the godhead. The sensation of wonder, in turn, feeds from and is a cousin to the early modern idea of ‘curiosity’.

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