Abstract and Keywords
Norman Rabkin's thesis is that the artistic ineptitude of plays such as Cambises and Gorboduc is, paradoxically, their greatest strength. The dramatists of the early 1560s may attempt to compose genuinely edifying works but they are also inventive enough to explore some independent dramatic possibilities; these keep outwitting their best intentions. They become fascinated, for example, by the appeal of the immorality they should condemn, or they grant equal weight to the role of destiny and individual choices in the onset of catastrophe. Consequently, these plays keep producing contradictions as well as problems of interpretation. Unwittingly, Rabkin suggests, such works made a truly tragic theatre possible, one that could range far beyond the scope of doctrinal teaching to explore more profound and irresolvable ethical problems and political conflicts. This article considers the teaching offered by both plays and then explores how their tragic aspirations lead to a more unsettling understanding of political experience and, especially, of political sovereignty.
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