Performance Records (Henslowe’s Diary)
F. 10v (Greg I.20)
ye 16 of novmb[er] 1594 ne . . R[d] at deoclesyan ………. liiijs ye 22 of novmb[er] 1594 R[d] at deoclesyan ………. xxxxiijs
Performed as a new play by the Admiral's Men at the Rose on Saturday 16 November 1594. Performed again on Friday 22 November.
Classical history (?) (Harbage), tragedy (?) (Wiggins).
Possible Narrative and Dramatic Sources or Analogues
Wiggins (973) suggests a number of possible sources for the plot of the play: "[John] Foxe's account of Diocletian, the most easily accessible in the period", "Richard Reynoldes, A Chronicle of all the noble Emperors of the Romans (written by 1562, printed 1571) and Eusebius, Ecclesiastical History (tr. Meredith Hanmer, 1577, repr. 1585)."
Needless to say, the plot must have revolved around the life of the soldier-turned-Emperor titular character, although it is impossible to say with any degree of certainty whether the play dealt with any particular moment of his biography, which it seems expedient briefly to sum up.
After a remarkable career in the army, Diocletian (244–311 CE) was proclaimed Emperor by his officers in Nicomedia, when Numerian was killed by Arrius Aper. Diocletian executed Aper and was then attacked by Carinus, who, however, was killed by his own men. Diocletian then divided power with his loyal general Maximian, naming him Caesar and then Augustus. While Maximian beat the Alamanni and Heruli, and freed the coasts of Britain from Frank and Saxon pirates, Diocletian fought successfully against the Sarmatians and subdued a rebellion in Syria and Egypt.
In order to solve the problem of succession and prevent usurpations, he chose two of his best generals, Costantius and Galerius, and made them Caesars. Diocletian kept the East; Maximian, Italy, Raetia, Spain and Africa; Galerius, the Illyricum; Costantius, Gaul and Britain. While Rome remained the moral capital of the Empire, Diocletian established his seat in Nicomedia, Maximian in Mediolanum, Galerius in Antioch and Costanzo in Treviri; Diocletian, however, retained supreme authority in order to ensure the unity of the Empire.As he considered Christianity very dangerous for the State, he fought bitterly against it since 303 CE: persecution raged mainly in the East and made countless martyrs. It was the last and most severe persecution of Christians in the Roman Empire. In 305 CE, Diocletian yielded the throne to Galerius and retired to Salona, where he lived until his death (possibly by suicide).
While Galerius and Maximian fought successfully against the Goths, Sarmatians and Carpi, Diocletian subdued a revolt in Egypt and executed the usurper Achilleus. The Persians invaded Syria and defeated Galerius at Carrhae but were later crushed by him and had to acknowledge Roman control on Mesopotamia. In 303 CE, Diocletian celebrated a wonderful triumph in Rome.
The political and administrative transformation wrought by Diocletian was of extreme importance: he definitively established imperial absolutism, free from any control of the Senate, and accentuated the divine character of the sovereign in imitation of Eastern monarchies (also with regard to the custom of wearing the tiara and the nimbus). He also proceeded to a comprehensive reform of the structure of the Empire by dividing it into 12 dioceses, and those into provinces. The army was increased by one-third, to about 450,000 soldiers, and an army of manoeuvre was created to follow the Emperor; lines of fortifications were strengthened and the soldiers’ discipline reinforced. In an attempt to solve the economic crisis, Diocletian introduced a financial reform by means of a new tax system and a revaluation the currency of the Empire: his anti-inflation policy, however, was a complete failure.
References to the Play
Harbage (following Fleay) suggests Thomas Dekker may have been the author of the play. His hypothesis rests on the fact that The Virgin Martyr (1620) by Dekker and Philip Massinger features Diocletian as a character. However, there is no evidence that The Virgin Martyr is a revision of the earlier play.
Hunter (102) argues that the play was presumably a story 'of Christian triumph and pagan wickedness (like Ben Hur and The Sign of the Cross)'.
MacIntyre (102) contends that the play is "likely to have featured 'paynim' characters" probably using the same costumes used by "Persians, Turks, Egyptians, and Arabians" in plays such as the two parts of Tamburlaine and the lost "Tamar Cham".
For What It's Worth
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