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Abstract

My favourite line in Marston is from The Dutch Courtesan: ‘Every man’s turd smells well in’s own nose’ (3.3.45). Marston didn’t invent this image; he found it in Florio’s translation of Montaigne, a book he read with keen interest soon after its publication in 1603, where it appears as a bathetically unheroic couplet: ‘Ev’ry mans ordure well, To his owne sense doth smell’.1 Florio of course found it in the text he was translating, not in Montaigne’s racy French, but in a Latin epigram, ‘Stercus cuisque suum bene olet’,2 which Montaigne was quoting inaccurately by memory from the Adages of Erasmus.3 Marston’s most striking images will often turn out to have intertextual pedigrees that say more for his bookishness than his originality. But in this instance as elsewhere, if he didn’t invent something new, he certainly gave it an idiomatic English crudeness that nobody else did. Vulgarity, in fact, was the gift for which he became notorious and for which he was lampooned by the students of St John’s College, Cambridge, in The Return from Parnassus, Part 2: ‘What, Monsier Kinsayder, lifting up your legge and pissing against the world? Put up man, put up for shame’ (1.2.267-8). I wish I could claim that Marston’s vulgarity was a sign of uninhibited personal warmth or communal glee, but no such happy interpretation could survive much absorption in his writing.4

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Notes

  1. The Essayes of Michael Lord of Montaigne, trans. John Florio (London: Dent, 1910) 3: 166.

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  2. Essais de Montaigne, ed. Maurice Rat (Paris: Gamier, 1962) 2: 364.

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  3. See Adage 2302, ‘suus cuique crepitus bene olet’, in Opera Ornnia Desiderü Erasmi Roterodami, ed. J.H. Waszink et al. (Amsterdam: North Holland Publishing Company/Elsevier, 1969–2001) 2.5: 242.

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  4. Jean Howard, in ‘Mastering Difference in The Dutch Courtesan’, Shakespeare Studies 24 (1996): 105–17, has proposed that the play is an exploration of what it means to live in a culture of hybridity, that is, in a cosmopolitan city where the marketplace increasingly promotes exposure to foreign products and people. Franceschina herself, on this reading, ‘is cosmopolitanism rendered monstrous’ (112).

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  5. My position here is similar to the one taken by Theodore Spencer: ‘Montaigne accepts lust and its gratifications as a natural part of humanity; to Marston lust is unnatural and obscene ...Montaigne’s ideas must have come to him as a considerable shock. But as usual, he showed his repulsion by fervently embracing the object that caused it.’ See ‘John Marston’, The Criterion 13 (1933–34): 596.

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  6. Lynda E. Boose, ‘The 1599 Bishops’ Ban, Elizabethan Pornography, and the Sexualization of the Jacobean Stage’, in Enclosure Acts: Sexuality, Property, and Culture in Early Modern England, ed. Richard Burt and John Michael Archer (Ithaca, NY: Cornell University Press, 1994) 193.

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  7. Wharton, The Critical Fall and Rise 100.

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© 2003 Ronald Huebert

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Huebert, R. (2003). The Adverse Body: John Marston. In: The Performance of Pleasure in English Renaissance Drama. Palgrave Macmillan, London. https://doi.org/10.1057/9780230503168_4

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