The very structure of Mustapha,1 like the idealist mimesis which informs it, constitutes a reaction formation to doubt, anxiety and emergent scepticism. As such the play provokes more disquiet than it allays: Greville’s interrogative text undermines its own providentialist brief, reconstituting, even as it struggles to foreclose, the disjunction between idealist and realist mimesis and, relatedly, the contradictions within protestant theology. It is a brilliant, fascinating and still underrated text.
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