Abstract and Keywords
This article focuses on Henry Medwall's early Tudor play Fulgens and Lucres (c.1491). Fulgens and Lucres proffers two theories of drama — the episodic and the interconnective — a bounty resulting from the coexistence of its ‘main plot’ and developed ‘sub-plot’. The article takes the interconnective theory as its hypothesis in order to consider the sub-plot's satire of the main plot as seriously meant. From that vantage point, the sub-plot turns the main plot's tidy, over-idealized heredity-merit debate into comic melodrama. The sub-plot in Fulgens and Lucres makes its didactic truth appear forced and unreal. This difference marks a transition in drama, as messy secularity begins to nudge aside soteriology. In Fulgens and Lucres, the case for public service may triumph dutifully over that for ancestry, but at another level, the sub-plot makes contingent the ostensible inevitability of the main action and compromises its argument through parody. The value that emerges is the humanist value of reason, but reason modulated into an attitude, an aesthetic mode of perception and ironic delight — reason as ‘discretion’, best represented in Lucres' behaviour.
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