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The Aesthetics of Antichrist: From Christian Drama to by John Parker

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By John Parker

In Dr. Faustus, Christopher Marlowe wrote a profoundly non secular drama regardless of the theater's newfound secularism and his personal attractiveness for anti-Christian irreverence. The Aesthetics of Antichrist explores this obvious paradox by means of suggesting that, lengthy sooner than Marlowe, Christian drama and formality functionality had reveled in staging the cave in of Christianity into its ancient opponents—paganism, Judaism, worldliness, heresy. via embracing this practice, Marlowe's paintings might instantaneously display the theatricality inhering in Christian worship and, abruptly, resacralize the economic theater.

The Antichrist delusion specifically tells of an impostor became prophet: appearing Christ's existence, he reduces the godhead to a different influence but in so doing foretells the genuine moment coming. Medieval audiences, in addition to Marlowe's, might obviously benefit from the consistent confusion among precise Christianity and its empty look-alikes for that very cause: mimetic degradation expected a few ultimate, as but deferred revelation. Mere theater was once an important prelude to redemption. The types of the parable we discover in Marlowe and prior drama truly approximate, John Parker argues, a premodern conception of the redemptive influence of dramatic illustration itself. Crossing the divide among medieval and Renaissance theater whereas drawing seriously on New testomony scholarship, Patristics, and learn into the apocrypha, The Aesthetics of Antichrist proposes a wholesale rereading of pre-Shakespearean drama.

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9), p. , that of forgery); hence the Pastorals. A number of scholars still accept their authenticity, however. For a detailed discussion that decides against Pauline authorship specifically of Titus, with a bibliography of the whole debate, see David G. Meade, Pseudonymity and Canon: An Investigation into the Relationship of Authorship and Authority in Jewish and Earliest Christian Tradition (Grand Rapids: Eerdmans, 1987), pp. 118ff. I give more references below in connection with 2 Peter and 2 Thessalonians.

Murphy (New York: Sheed & Ward, 1952), pp. 201–32 and E. K. Rand, The Founders of the Middle Ages (Cambridge: Harvard University Press, 1928), pp. 35ff. Along with Christianity’s debt to the classics comes an enormous anxiety of influence. Hence Jerome’s dream of appearing before the holy seat and finding himself judged there a Ciceronian instead of a Christian (Ep. 17 (CC, Continuatio Mediaevalis, 118:104); trans. Joseph B. Pike (Minneapolis: University of Minnesota Press, 1938), pp. 86–87. 42.

407A–B). As if that were not enough, poetry had fallen into even deeper disrepute on account of a tribe of wandering soothsayers who lounged around shrines and exercised their gift for verses by prophesying extemporaneously, much to the delight of servants and women, “who are most enticed by verse and a poetic vocabulary. This, then, is not the least among the reasons why poetry, by apparently lending herself to the service 53. Cf. 2–3, where he justifies the Sibyl’s poor verses with the argument that, speaking extemporaneously, unlike poets she could hardly pause to scan her words and then correct the meter.

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