Enfoque
This paper analyses the first English tragedy, Gorboduc (1561), written by Thomas Norton and Thomas Sackville, through the lens of Senecan influence. By examining the direct and indirect references that the authors incorporate, this approach highlights how Norton and Sackville shaped their tragedy through their familiarity with Senecan drama. This research undertakes a comparative analysis with Seneca’s Medea, focusing on the structure, style, and characterization of Norton and Sackville’s play.
This study aims to reveal whether Gorboduc can be accurately referred to as a ‘Senecan play’, as many authors suggest, or if, on the contrary, it does not fit this classification. Indeed, although the early Elizabethan tragedies are often recognized for their adherence to Classical drama and are thus categorized accordingly, Gorboduc may not strictly follow this pattern.
To achieve this, the theory of intertextuality will serve as a tool to analyse and uncover the layers within this piece of literature. Moreover, a comparative and textual approach will be followed, focusing on the structure, style, and characterization in Norton and Sackville’s Gorboduc alongside those in Medea. Therefore, specific textual fragments from Gorboduc and Medea (both in Latin and in English) will be highlighted to illustrate these connections and/or differences.
The results of this analysis demonstrate that, while the influence of Seneca seems evident in Gorboduc, particularly in its structure and characterization, it also differs in aspects such as the inclusion of dumbshows or the absence of the intense passion typical in Senecan tragedies. Thus, Norton and Sackville’s Gorboduc should not be considered as a mere imitation of Senecan drama but rather as an adaptation.
In conclusion, this paper not only highlights the influence of Senecan drama in Gorboduc but also underscores how Norton and Sackville adapted these elements to suit the political and cultural landscape of Elizabethan England. Furthermore, it contributes to the field of early Elizabethan tragedies by offering a deeper understanding of Gorboduc’s unique position between Classical influence and English innovation.
Lucía Sánchez Bejerano
Comentó el 21/11/2024 a las 15:32:37
Thank you for this thorough analysis of Gorboduc and its relationship with Senecan drama. I found it particularly intriguing how the play adapts classical influences to reflect the political and cultural context of Elizabethan England, especially through innovations like the inclusion of dumbshows.
Given the divergence from Senecan intensity and the incorporation of uniquely Elizabethan elements, how do you think Gorboduc contributed to shaping the distinct identity of early English tragedy, particularly in terms of audience expectations and thematic focus?
Laura Méndez Márquez
Comentó el 21/11/2024 a las 19:05:14
Thank you for your thoughtful question! Gorboduc indeed plays a pivotal role in shaping the identity of early English tragedy by bridging classical Senecan influences with uniquely Elizabethan concerns. Its adaptation of Senecan elements (the choruses, five-act structure, themes of political power and moral consequence...) demonstrates a reverence for classical models, but these are innovatively reinterpreted to address concerning issues of Elizabethan society, such as the fear of an impending Counter-Reformation if Elizabeth I did not name nor produce a successor, as well as the danger of Mary, Queen of Scots and her Catholic followers. Moreover, the play also encourages the Queen to marry an English man, specifically Lord Dudley. In this sense, the incorporation of the dumbshow is particularly noteworthy as it adds a visual and symbolic layer (taking into account that Gorboduc, like Seneca, is more about dialogues than action, which rather than occurring on stage is communicated to the audience through speech), catering to an audience accustomed to spectacle while also providing allegorical commentary.
Lucía Sánchez Bejerano
Comentó el 22/11/2024 a las 14:36:20
Dear Laura,
Thank you for your response. I agree that the inclusion of the dumbshow is particularly significant—not just as a visual spectacle for the audience, but as a bridge between Senecan dialogue and the increasingly dynamic stagecraft that early English tragedy would come to embrace. It’s remarkable how Gorboduc manages to blend classical structure with these innovations to create something uniquely English. Thank you again for sharing these insights—this has given me much to reflect on!
Best,
Lucía
Luis Javier Conejero Magro
Comentó el 21/11/2024 a las 13:44:36
Congratulations, Laura. I have a question. To what extent does Gorboduc reflect a balance between Senecan influence and Elizabethan innovation, and how do its deviations from Senecan drama contribute to its unique position in early English tragedy?
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