Thomas Dekker 1572-1632
English dramalist and essayist.
A prolific author, Dekker wrote, alone or in collaboration, over forty plays, of which seventeen survive. His best-known dramas include The Shoemaker's Holiday, Old Fortunatus, The Honest Whore, and The Witch of Edmonton. He is also noted for having produced numerous pamphlets, such as The Wonderful Yeare, The Belman of London, Lanthorne and Candle-Light, and A Rod for Run-Awayes, which provide detailed pictures of the life of Elizabethan and Jacobean London. Admired in his own time for his writings in both comic and tragic veins, Dekker's reputation fell greatly during the eighteenth century but has been rehabilitated by a number of twentieth-century critics who praise Dekker for his romanticism, his ethical concerns, and his considerable, if sometimes uneven, craftsmanship in both drama and prose.
Dekker was born in London, possibly to a Dutch family, as scholars deduce from both his surname and his evident familiarity with Dutch language in The Shoemaker's Holiday and other works. Nothing is known of his life until the 1590s, when his name began appearing in theatrical documents. A 1594 entry in The Stationer's Register—a record of works licensed for publication—lists a “Tho: Decker” as the author of a drama entitled The Jew of Venice, a work that no longer survives. The next evidence of Dekker's activities dates from 1597, when theater manager Philip Henslowe recorded in his professional diary the hiring of Dekker to write and adapt plays for his company, the Lord Admiral's Men. Subsequent entries in Henslowe's diary indicate that during his tenure with the Lord Admiral's Men, Dekker had a hand in the composition or revision of dozens of plays, at times working with as many as three or four other writers. In the opening years of the seventeenth century, Dekker became involved in “the War of the Theaters,” a literary quarrel in which Ben Jonson ridiculed both Dekker and John Marston in several plays, most notably Poetaster (1601). Dekker responded by mocking Jonson in Satiro-Mastix. Or The Untrussing of the Humorous Poet. Dekker wrote steadily for Henslowe until 1603, when the death of Elizabeth I, followed shortly by an outbreak of the plague, resulted in the closing of London's theaters. For the time deprived of the means to support himself by playwriting, Dekker turned to composing prose pamphlets. The epidemic prompted Dekker to publish The Wonderful Yeare, a collection of anecdotes, religious meditations, and lamentations for those who died. Surprisingly, in 1604 Dekker was jointly commissioned with Jonson to compose the pageant celebrating the coronation of James I. The two writers remained antipathetic to one another, however, and each published separately his share in the pageant, which was titled The Magnificent Entertainment. With the reopening of the theaters Dekker returned to drama, writing both parts of The Honest Whore in 1604-05. About two years later Dekker appears to have stopped writing for the stage, and for the next five years he concentrated exclusively on producing pamphlets. He returned to playwriting in 1611, but this activity was soon terminated as he was imprisoned for debt. He was, however, able to continue composing pamphlets, and he published several while in prison. After his release in 1619, Dekker worked with Samuel Rowley, John Ford, and others, creating such works as The Virgin Martir and The Witch of Edmonton. Dekker died sometime around 1632.
As a result of the varied conditions and diverse genres in which Dekker wrote, scholars find that his work as a whole is hard to characterize. One of his hallmarks, however, is comic, often raucous, banter. Even his religious play The Virgin Martir includes bawdy dialogue, which is given to the pagan antagonists of the title character Dorothea, contrasting their sensuality with her sanctity. Dekker is also often credited with a profound sensitivity to the plight of the poor, the laboring classes, and, particularly, the victims of persecution. Several critics have pointed out that the speeches of jailed prostitutes in Part Two of The Honest Whore indict society's indifference to poor women as a major cause of prostitution. In addition, Mother Sawyer, the eponymous witch of Edmonton, is sympathetically portrayed, making a pact with the devil only in response to her neighbors' cruel taunts regarding her ugliness and poverty. The Shoemaker's Holiday, perhaps Dekker's most popular work, is commonly regarded as a celebration of working-class life. This comedy depicting the rise of Simon Eyre to the position of Lord Mayor offers several portraits of honorable tradespeople and laborers. Dekker's compassion for the poor and suffering is also reflected in his pamphlets; for example, The Wonderful Yeare castigates those of his contemporaries who, fearing contagion, refused to nurse or comfort victims of the plague.
Appraisals of Dekker's works have varied widely over the years. While in the seventeenth century Jonson satirized him as “Demetrius Fannius,” an impoverished and incompetent “dresser of plays” in Poetaster, William Fennor praised Dekker as “the true heire of Appolo” in his The Comptor's Commonwealth (1617), and Edward Phillips lauded him as “a high-flier in wit” in his Theatrum poetarum anglicanorum (1675). In the eighteenth century Dekker was generally held in low esteem. For instance, Charles Dibdin, writing in 1795, censured the structure of Dekker's plays and maintained that it was “very probable that [Dekker] could not have been half so well respected as he was,” were it not for his famous rivalry with Jonson. Subsequent critics frequently charged Dekker's plays with poor construction, though his reputation rose again in the early nineteenth century, when critics such as William Hazlitt and Charles Lamb praised him for the imaginative situations and believable characterizations in his dramas. Both Lamb and Hazlitt expressed admiration for Dekker's lyrical qualities, as did many later critics. In the Victorian period a number of writers lauded Dekker's compassion for the lower classes while condemning his coarse language and sexual humor. Early twentieth-century opinion continued to reproach Dekker's dramatic technique and considered the quality of his verse uneven and generally inferior to that of his prose.
Significantly, many critics now judge one of Dekker's greatest strengths to be his versatile prose style, which, as demonstrated in his pamphlets as well as his plays, is capable of both dignified formality and lively colloquialism. Recent commentary has increasingly examined Dekker's drama in the context of his overall literary output, with many critics finding a consistent moral view expressed throughout his work. Other modern scholars have challenged the notion that Dekker's plays are poorly integrated, citing thematic patterns, unified plots, consistency of characterization, and other evidence of Dekker's craftsmanship. With such studies has come a heightened appreciation of Dekker as an artist who, as Larry S. Champion has asserted, “genuinely deserves a considerably higher place in the development and maturation of Elizabethan-Jacobean-Caroline drama than most previous critics have been willing to acknowledge.”
The Jew of Venice 1594?
Black Bateman of the North, Part 1 [with Henry Chettle, Michael Drayton, and Robert Wilson] 1598
The Civil Wars of France 3 parts [with Drayton] 1598
Conan, Prince of Cornwall [with Drayton] 1598
Earle Godwin and His Sons 2 parts [with Chettle, Drayton, and Wilson] 1598
The Famous Wars of Henry I and the Prince of Wales [with Chettle and Drayton; also known as The Welshman's Prize] 1598
Hannibal and Hermes [with Chettle, Drayton, and Wilson] 1598
The Mad Man's Morris [with Drayton and Wilson] 1598
Pierce of Winchester [with Drayton and Wilson] 1598
The Triangle (or Triplicity) of Cuckholds 1598
Worse Afeard than Hurt [with Drayton] 1598
Agamemnon [with Chettle; possibly the same play as Orestes' Furies] 1599
Page of Plymouth [with Ben Jonson] 1599
The Pleasant Comedie of Old Fortunatas 1599
The Shoemaker's Holiday. Or The Gentle Craft. With the Life of Simon Eyre, Shoomaker, and Lord Maior of London 1599
The Stepmother's Tragedy [with Chettle] 1599
The Tragedy of Robert II, King of Scots [with Chettle, Jonson, and Marston] 1599
Troilus and Cressida [with Chettle] 1599
Fair Constance of Rome, Part 1 [with Drayton, Wilson, Anthony Munday, and Richard Hathaway] 1600
Fortune's Tennis 1600
The Golden Ass, or Cupid and Psyche [with Chettle and John Day] 1600
Lust's Dominion, or The Lascivious Queen [with Marston, Day, and William Haughton; possibly the same play as The Spanish Moor's Tragedy] 1600...
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SOURCE: “Thomas Dekker: A Partial Reappraisal,” in Studies in English Literature 1500-1900, Vol. VI, No. 2, Spring 1966, pp. 263-77.
[In the following essay, Berlin contends that Dekker's works demonstrate that the playwright is “genuinely moral and often angry,” adding: “When he can draw clear moral lines, solidified by a love for the class which originally drew these lines, he presents aesthetically satisfying drama.”]
Compared to other Elizabethan and Jacobean dramatists, Thomas Dekker has received little critical attention in recent years. It seems that the last word has been said about this profilic dramatist. All the clichés describing him are known...
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SOURCE: “Dekker's Drama: Independent Work,” in Thomas Dekker, Twayne Publishers, 1969, pp. 34-83.
[In the essay below, Price surveys the eight surviving plays that Dekker wrote without a collaborator. The critic argues that these were effective pieces that pleased their Elizabethan audiences.]
More than with most dramatists of the English Renaissance, it is necessary to begin a consideration of Dekker's plays with a reminder of how thoroughly this playwright is sustained by the native dramatic tradition. The Shoemaker's Holiday (1599), the most familiar of his works to twentieth-century readers, may be somewhat misleading in this respect; for, despite its...
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SOURCE: “Persuasion and Drama,” in Rhetoric in the Plays of Thomas Dekker, Institut für Englishe Sprach und Literatur, 1972, pp. 28-65.
[In the following chapter from her study of the elements of formal rhetoric in Dekker's works, Blow identifies the rhetorical devices used for persuasion and argumentation.]
Except for prologues, aside, and the like, every speech in a play is directed at a dual audience: the theatre audience and the character or characters to whom it is addressed in dramatic context. When Dekker intended a speech to achieve a persuasive purpose within his story framework, he customarily exployed rhetorical figures and principles decorously...
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