Time, Nation, and Hubris in Friar Bacon and Friar Bungay
Para1The second scene in Robert Greene’s The Honorable History of Friar Bacon and Friar Bungay is at first glance of relative unimportance when considering the play’s overall structure.
The romantic plot concerning Prince Edward and Earl Lacy’s dual pursuit of Margaret
of Fressingfield is unaddressed in the scene, and four of the six characters that
deliver lines in the scene are very minor characters who do not figure into the overall
story in any significant way, with some not being heard from again. Despite this,
there are several key moments of action in this scene that elevate its importance;
this scene serves as the audience’s introduction to the characters of Friar Bacon
and Miles, and it is through their interaction with the other characters and each
other that highlight key aspects of their respective characters and the overarching
themes of the play. In performing this scene, I worked both individually in my role
as the eponymous Friar Bacon, and collectively with the rest of my group in order
to portray the friar as foolhardy and credulous, an individual who wields impressive
power for ostensibly benevolent ends that are nevertheless corrupted by his lack of
understanding of their nature and by his own hubris.
Para2When our group first gathered, preliminary readings of our selected scene brought
us to the first two challenges in mounting a performance. We needed to address the
issue of how to make an Elizabethan era stage play interesting and relatable to a
modern audience, while still respecting the source material, as well as devise an
engaging way of demonstrating the power Bacon wields in his conjurations. Our answers
to these problems would become dramatic protocols that would influence our interpretation
of the scene, as much as our later research would influence the way these protocols
manifested in the performance. Our first attempt at addressing the problem of making
an almost five hundred year-old play seem relevant was to modernize its content. This
went so far as having one of our group members, Grant Winestock, re-write the entire
scene using realistic contemporary dialogue. While an interesting exercise, we realized
as we began our research that it was not the best way to proceed, as recontextualizing
the characters and setting would undermine Greeneʼs efforts in fitting them into a
specific time and place, and his reasons for doing so. We sought out recordings of
other performances of Friar Bacon and Friar Bungay, both in a production by BBC Television Services as part of its An Elizabethan Evening broadcasting program, and in a production staged by the Shakespeare and the Queenʼs
Men Project. The actors in both productions are wearing costumes that would have been
fitting the traditional style of the original staging of the play. The videos allowed
us to see the traditional style of clothing the actors would have worn and helped
us make the decision to modernize the costumes for our play.
Para3Preliminary research suggested to us that Greene deliberately incorporated into Friar Bacon and Friar Bungay a significant amount of historical fact and references to historical figures. The
romantic plot, which sees the son of King Henry III and Prince of Wales, Edward, marry
the daughter of the King of Castile, Elinor. Notes on the dramatis personae that accompanied
some editions of the play indicate that these are in fact historical figures, and
that Edward did in fact marry Elinor. Friar Bacon himself is a clear reference to
the medieval philosopher and scientist, Roger Bacon, who lived during Henry III’s
reign. Beyond adopting the names of historical characters, Greene specifically writes
his characters in a way that lets their historical acts illuminate issues contemporary
to his time. In her essay,
Friar Bacon and Friar Bungay and the Rhetoric of Temporality,Deanne Williams argues that Bacon in particular
engages prevailing notions of the right and proper historical evolution from medieval to modern, from Catholic to Protestant(Williams 32). Bacon’s belief in magical thought and the basis of his powers in occult practices are characterized as a medieval mode of thought, opposed to which is reason and science, renaissance characteristics that Bacon ultimately converts to in his rejection of magic by the play’s end. Such an interpretation serves to highlight Bacon’s folly, and suggests the play is very specifically working with ideas of a specific time and place. We consequentially wanted to retain this aspect of the work, and so we abandoned the idea of a total modernization of the scene, electing instead to selectively modernize specific aspects of its performance in a way that highlighted Bacon being
frozen in timeas he clings to outmoded ways of belief in a humorous manner.
Para4Bacon’s use of magic in Friar Bacon and Friar Bungay, though he claims innocent and nationalistic goals, frequently ends in failure and
tragedy. Throughout the play, Bacon insists on the idea of raising a brass wall around
England, going so far as to suggest that the walls he plans to erect would not be
unlike
The work that Ninus reared at Babylon, / The brazen walls framed by Semiramis(Sc2 Sp14). By defining his works in the context of those lost works of antiquity, Bacon inadvertently suggests that as walls are collapsible and empires eventually overrun, so too are his works bound by temporality. Bacon’s depiction as a buffoonish medieval magician is further reinforced when one looks further at the works he actually performs within the text of the play. The sensational brazen head, which Bacon reveres as his most important work, goes unheeded and self-destructs after the negligent Bacon decides to sleep even as the moment approaches when he expects the brazen head to speak (Sc10 Sp5). His use of his magical
glass prospectiveto reveal to the sons of Lambert and Serlsby the nature of their father’s quarrel results in the sons murdering each other in his cell (Sc12 Sp34) Throughout the play, the power that Bacon wields is demonstrated as being faulty, ridiculous, and dangerous.
Para5The dismal consequences of his magical endeavours make no difference to Bacon’s ego,
however, which borders on excessive. Even when limiting evidence of this strictly
to what’s found within the performed scene, Bacon’s arrogance is one of the clearest
aspects of his character. One might suspect otherwise, given his initial reaction
in welcoming Burden, Mason, and Clement into his cell, as he greets them as
masters of our academic state,suggesting they are above him in the hierarchy of the university’s administration—Bacon qualifies this by following with a statement that he is only
newly stalledin his position (Sc2 Sp5). But as Burden begins to rattle off the rumours of how deeply learned in arcane magic arts Bacon is, the friar’s only response is a quick-tempered,
what of all this?(Sc2 Sp7). The slightest suggestion that there are mysterious powers the friar ought not to dabble in is unfathomable to Bacon. When Burden further expresses his doubts in Bacon’s capabilities, Bacon angrily exclaims that the
college called Brazennose / Is under him, and he the master there(Sc2 Sp54). As he allows his emotions to get the better of him, he reveals his true feelings, upending the hierarchy of academia to place him at its peak. Coupled with his earlier reference to the university as an academic state, he positions himself as the ruler of an independent kingdom of knowledge, where he defines its laws and limits. This places him at odds with the actual kingdom of England, in service of which he claims to be working. Ultimately, Bacon is in service of his own hubris.
Para6The nationalistic claims Bacon frequently employs to explain his motives are another
topic of research our group focused on. Bacon gives a passionate display of national
integrity when questioned about his brazen head, exclaiming that its power would be
put to such use that
if ten Caesar’s lived and reigned in Rome, / With all the legions that Europe doth contain, / They should not touch a grass of English ground(Sc2 Sp14). His national pride manifests most particularly in his feud with the German magician, Vandermast. After defeating Vandermast in a display of magical feats, Bacon sees his victory not only as a triumph of English skill over a novice German, but also as an excuse to transport the inept German back to Hapsburg (Sc8 Sp44). In doing so, Bacon actively attempts to expunge foreign influence from England, and notably in this case, German influence. This is especially ironic given the frequency to which literary critics suggest parallels between Friar Bacon and the distinctly German magician/scholar Faustus. Aside from their both being eminent scholars who dabble in magic, both share goals: Marloweʼs Doctor Faustus plans to
wall all Germany with brass(Marlowe 85–92), a goal nearly identical to Bacon’s plan for England. Further, both Bacon and Faustus are accompanied by bumbling assistants, Miles and Wagner, respectively. Where some scholars suggest that the two characters differ in that Faustus’s powers are sourced from a distinctly German and angst-driven black magic, but Bacon’s originate in an English, rural, white magic that does not carry the consequence of spiritual damnation (Towne 9). Our group doubted heavily such claims, observing that while Bacon does not expressly make a contract with the devil, he still conjures and commands devils to carry out his bidding. This is clearly witnessed in the scene we selected, where Bacon conjured forth a devil with the command:
Per omnes deos infernales, Belcephon!
(Sc2 Sp34). Bacon is clearly a practitioner of the occult, and in fact finds himself to be
in exactly the same dilemma as Faustus, though Bacon is wise enough to see a way out
of it. After witnessing two students slaughter each other as a direct result of his
magic, Bacon renounces his powers, stating them to be instances that Bacon must be damned / for using(Sc12 Sp36). He hereafter announces that he will spend the rest of his life in repentance in order to earn God’s mercy, a task Faustus was unable to take on. Bacon unwittingly places himself in the same spiritually threatening circumstances as Faustus, and though he has the resolve to overcome it, to believe otherwise is to ignore the play’s rationale.
Para7Having come to an understanding of the issues at work within the scene, we next turned
to exploring methods of making those issues evident in performance. I approached my
performance of the Friar Bacon character with an aim of displaying his foolish arrogance.
I decided that I would revel exaggeratedly in the comments made by the other characters
regarding my magical abilities. It was not hard to find opportunities for this display
in the play’s second scene, as literally every character delivers a line about Bacon’s
magic. Even Burden, the scene’s sceptic whose antagonism drives much of the scene’s
drama, first enters the room to report his concerns that all of England is buzzing
with rumours of Bacon’s plans. I decided that my reaction would be to ignore Burden’s
concerns entirely; rather, I would be flattered by exactly that which worries Burden—that
I’m the talk of the entire country. But even beyond the lines themselves, there is
ample opportunity for character to realize itself. I decided to interpret Bacon’s
welcoming of the visiting scholars with the word
nowas to suggest that he has recently concluded other business and is
nowready to address the scholars. Thus, a comic bit was worked into the entrance of the scholars where I keep them waiting excessively as I pore over my magic tomes. The tension that arises from wondering how long I keep the scholars waiting not only serves to draw the audience into the scene early on, but also demonstrates my arrogance, in that I believe myself and my pursuits to be more important than the people around me.
Para8Miles, Bacon’s scholarly assistant, also proved invaluable as a source for realizing
Bacon as a hubristic buffoon. Working with Jamilla Wilson, the group member who performed
Miles, was especially fun, as many of her lines have her readily jumping to my defence
or aggrandizing my abilities. Based on this, we agreed that Miles should fawn over
Bacon excessively. A good deal of improvisation went on in rehearsals as Jamilla found
new and different ways in which to demonstrate this aspect of her character, and I
would respond to it by revelling in her attention as Bacon, effectively feeding off
of each other’s creative impulses and pushing each other further in our respective
characters. In fact, the moment during the performance when she massaged me as I delivered
the last lines of my monologue was a novel improvisation that had never occurred during
rehearsal.
Para9Aside from Miles, the other character with whom Bacon interacts most extensively in
the scene is Burden. Burden drives the dramatic action of the scene, as he levels
accusations against Bacon, action which spurs Bacon to level accusations of his own,
and conjure proof of them in response. We wanted to highlight the tension between
Bacon and Burden in the scene, and our choice informed much of the scene’s blocking.
Grant Winestock, the group member performing Burden, and I took care to position ourselves
at opposite ends of the stage whenever possible. If Burden was positioned down-stage
left, I would typically be up-stage right; we essentially saw our characters as the
opposing poles of action around which stage movement rotated. To further heighten
the tension, we strove to give greater potential to Burden as a legitimate rival;
we wanted Burden to be potentially threatening in order to make the payoff of his
exposure via Bacon’s magic that much more engaging to the audience. Towards this end,
we recast the characters of Clement and Mason, in our performance combined into one
amalgamated character as a result of our small cast, as being an assistant to Burden
in order to parallel Bacon and Miles’ relationship. While this relationship is not
in the text, in fact, Clement and Mason caution Burden not to upset Bacon; specific
cues in costume and performance makes such choices appear immediately obvious and
natural. The Clement/Mason character in our performance was played by Alana Malachowski,
and her costume, most significantly the presence of taped eyeglasses, and carrying
a notepad, immediately subordinated her to Burden, and with the additional direction
of having her record obsessively Burden’s actions, the secretarial relationship was
established. Costuming and props for Burden were other ways of heightening the tension
between his character and Bacon. Grant decided that he would gradually disrobe costume
elements—his suit jacket and vest, in order to suggest Burden’s own arrogant attempt
at
marking his territoryby casually tossing them about Bacon’s secret cell. This extended itself to a smoking pipe, which Burden lights up early in the scene—notably without first asking permission of Bacon. Over the course of the scene, the pipe is set down, pocketed by myself (ideally, unnoticed by the audience), before being returned to Burden as a final snub as he attempts to flee, humiliated. This sleight-of-hand trick was something that did not go as smoothly as we would have liked in the actual performance, but was still effective in being a microcosm of the scene’s action—Burden insults Bacon, and Bacon uses his magic to retaliate and humiliate Burden.
Para10Our group also attempted to work the patriotic elements of Bacon’s character into
the scene, which added another important element to the Bacon/Burden dynamic. When
Bacon conjures the Hostess, our group decided that the Hostess should appear as a
stereotypical German barmaid. Hailey Leonard, who performed the Hostress, was dressed
to reflect this, in a short skirt, apron, short balloon sleeves, and carrying a German
beer stein. This added weight to Bacon’s accusations, suggesting not only that Burden
was sleeping with a barmaid, but a German barmaid. Germany, of course, being the origin
of rival magician Vandermast, is not at all appreciated by the nationalistic Bacon,
and his actions against Burden now convey this contempt in our performance. The beer
stein in particular became an important prop, as we also wanted to highlight comparisons
between Friar Bacon and the German Faustus. At the end of the scene, I drink heavily
from the stein as a dramatic gesture immediately after promising to encircle England
with a wall of brass. The irony of imbibing from something distinctly foreign even
as I promise to eliminate foreign influence in England is deliberate. It serves to
show the faultiness of my goals, and suggest that I can never truly achieve them so
long as I enlist the services of powers
strange and uncouth(Sc2 Sp54). Bacon desires to get rid of foreign entities challenging England, without realizing that the origins of his powers are foreign themselves.
Para11We emphasized this idea even further in our multimedia effects meant to accompany
Bacon’s conjuration. We decided to utilize the projection screen available to us and
create a video collage to illustrate the brazen head and the summoning of the devil.
The specific videos were carefully selected to enhance the meaning of the scene: The
majority of the clips came from either the 1927 Fritz Lang film, Metropolis, or the 1926 F.W. Murnau film, Faust. We selected no film more recent than 1930. The aim was multifold: naturally, the
use of Faust highlights the parallels between the two eponymous characters, but beyond
that, all of the films used are German productions. The national connection aligns
Bacon and Faust via their magic, affirming that there is no difference in their spiritually
endangering qualities for the wielder, and exposing Bacon’s short sightedness in his
attempts to eliminate the foreign-interest tainted Burden, when he is no less tainted
himself by the magic he commands.
Para12Second, the age of the videos Bacon presents, relative to the audience watching, affirms
Bacon as one who clings to outmoded ways of belief. Bacon cannot present anything
more recent—not even anything with colour. Props and costumes further reflect this
performance choice. My many heavy necromantic tomes and ostentatiously large feather
quill contrast with the modern efficiency of Mason/Clement’s notepad. The heavy black
robe I wear contrasts with the neat informal modern dress of the other scholars. Bacon
is unready to accept the changes to his medieval worldview that is rapidly fading
into history.
Para13Overall, I believe the choices we made in the course of the production of our scene
performance resulted in an effective and engaging interpretation of the scene. Small
details not readily apparent in the script were carefully examined and embellished
to push the dramatic interest of the scene to its fullest. The relation of video effects
to the onstage action and the relationships between characters highlight our interpretation
of the scene. Friar Bacon, though a powerful magician, is ultimately one who allows
his hubris to get the better of him, as he dabbles in forces he does not fully understand—forces
the rest of the world is preparing to move beyond, and forces that can bring mortal
consequences to himself and those around him.
Prosopography
Janelle Jenstad
Janelle Jenstad is a Professor of English at the University of
Victoria, Director of The Map
of Early Modern London, and Director of Linked Early Modern Drama
Online. With Jennifer Roberts-Smith and Mark Kaethler, she
co-edited Shakespeare’s Language in Digital Media: Old
Words, New Tools (Routledge). She has edited John Stow’s
A Survey of London (1598 text) for MoEML
and is currently editing The Merchant of Venice
(with Stephen Wittek) and Heywood’s 2 If You Know Not
Me You Know Nobody for DRE. Her articles have appeared in
Digital Humanities Quarterly, Elizabethan Theatre, Early Modern
Literary Studies, Shakespeare
Bulletin, Renaissance and
Reformation, and The Journal of Medieval
and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives
(MLA); Institutional Culture in Early Modern
England (Brill); Shakespeare, Language, and
the Stage (Arden); Performing Maternity in
Early Modern England (Ashgate); New
Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter);
Placing Names: Enriching and Integrating
Gazetteers (Indiana); Making Things and
Drawing Boundaries (Minnesota); Rethinking
Shakespeare Source Study: Audiences, Authors, and Digital
Technologies (Routledge); and Civic
Performance: Pageantry and Entertainments in Early Modern
London (Routledge). For more details, see janellejenstad.com.
Justin Nusca
Kate LeBere
Project Manager, 2020–2021. Assistant Project Manager, 2019–2020. Textual Remediator
and Encoder, 2019–2021. Kate LeBere completed her BA (Hons.) in History and English
at the University of Victoria in 2020. During her degree she published papers in The Corvette (2018), The Albatross (2019), and PLVS VLTRA (2020) and presented at the English Undergraduate Conference (2019), Qualicum History
Conference (2020), and the Digital Humanities Summer Institute’s Project Management
in the Humanities Conference (2021). While her primary research focus was sixteenth
and seventeenth century England, she completed her honours thesis on Soviet ballet
during the Russian Cultural Revolution. She is currently a student at the University
of British Columbia’s iSchool, working on her masters in library and information science.
Martin Holmes
Martin Holmes has worked as a developer in the
UVicʼs Humanities Computing and Media Centre for
over two decades, and has been involved with dozens
of Digital Humanities projects. He has served on
the TEI Technical Council and as Managing Editor of
the Journal of the TEI. He took over from Joey Takeda as
lead developer on LEMDO in 2020. He is a collaborator on
the SSHRC Partnership Grant led by Janelle Jenstad.
Navarra Houldin
Project manager 2022-present. Textual remediator 2021-present. Navarra Houldin (they/them)
completed their BA in History and Spanish at the University of Victoria in 2022. During
their degree, they worked as a teaching assistant with the University of Victoriaʼs
Department of Hispanic and Italian Studies. Their primary research was on gender and
sexuality in early modern Europe and Latin America.
Peter Cockett
Peter Cockett is an associate professor in the Theatre and Film Studies at McMaster
University. He is the general editor (performance), and technical co-ordinating editor
of Queen’s Men Editions. He was the stage director for the Shakespeare and the Queen’s Men project (SQM),
directing King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (2006) and he is the performance editor for our editions of those plays. The process
behind those productions is documented in depth on his website Performing the Queen’s Men. Also featured on this site are his PAR productions of Clyomon and Clamydes (2009) and Three Ladies of London (2014). For the PLS, the University of Toronto’s Medieval and Renaissance Players,
he has directed the Digby Mary Magdalene (2003) and the double bill of George Peele’s The Old Wives Tale and the Chester Antichrist (2004). He also directed An Experiment in Elizabethan Comedy (2005) for the SQM project and Inside Out: The Persistence of Allegory (2008) in collaboration with Alan Dessen. Peter is a professional actor and director
with numerous stage and screen credits. He can be contacted at cockett@mcmaster.ca.
Scott Matthews
Bibliography
Marlowe, Christopher. The tragicall history of D.
Faustus. London:
Valentine Simmes,
1604. STC 17429. ESTC S120173. DEEP
369.
Towne, Frank.
White Magic in Friar Bacon and Friar Bungay?.Modern Language Notes 67.1 (1952): 9–13.
Williams, Deanne.
Friar Bacon and Friar Bungay and the Rhetoric of Temporality.Reading the Medieval in Early Modern England. Ed. Gordon McMullan and David Matthews. Cambridge: Cambridge University Press, 2007. WSB aau522. 31–48.
Orgography
LEMDO Team (LEMD1)
The LEMDO Team is based at the University of Victoria and normally comprises the project
director, the lead developer, project manager, junior developers(s), remediators,
encoders, and remediating editors.
Queenʼs Men Editions (QME1)
The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter
Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).
Metadata
Authority title | Time, Nation, and Hubris in Friar Bacon and Friar Bungay |
Type of text | Pedagogy |
Short title | Time, Nation, Hubris |
Publisher | University of Victoria on the Linked Early Modern Drama Online Platform |
Series | Queenʼs Men Editions |
Source |
Page written by Justin Nusca. First published in the QME 1.0 anthology on the ISE platform. Converted to TEI-XML
and remediated by the LEMDO Team for republication in the QME 2.0 anthology on the LEMDO platform.
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Edition | Released with Queenʼs Men Editions 2.0 |
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Queenʼs Men EditionsThe Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter
Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).
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Document status | published |
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