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This book argues broadly that any historical narrative about republicanism needs to place Marlowe at the front of its genealogy, and that his interest in republican ideals is sustained from the beginning to the end of his meteoric career. More specifically, this study will nonetheless argue that it is difficult to discern a clear republican form of government in Marlowe's works. What we can discern is 'republican representation', the author's representational foregrounding of his own republican frame of art. This study is the first to situate the complex Marlowe corpus within the context of the advent of English Republicanism.
'Conversation is the beginning and end of knowledge', wrote Stephano Guazzo in his Civil Conversation. Like Guazzo's, this is a book dedicated to the Renaissance concept of conversation, a concept that functioned simultaneously as a privileged literary and rhetorical form (the dialogue), an intellectual and artistic program (the humanists' interactions with ancient texts), and a political possibility (the king's council, or the republican concept of mixed government). In its varieties of knowledge production, the Renaissance was centrally concerned with debate and dialogue, not only among scholars, but also, and perhaps more importantly, among and with texts. Renaissance reading practices were active and engaged: such conversations with texts were meant to prepare the mind for political and civic life, and the political itself was conceived as fundamentally conversational. The humanist idea of conversation thus theorized the relationships among literature, politics, and history; it was one of the first modern attempts to locate cultural production within a specific historical and political context. The essays in this collection investigate the varied ways in which the Renaissance incorporated textual conversation and dialogue into its literary, political, juridical, religious, and social practices. They focus on the importance of conversation to early modern understandings of ethics; on literary history itself as an ongoing authorial conversation; and on the material and textual technologies that enabled early modern conversations.
For educated poets and readers in the Renaissance, classical literature was as familiar and accessible as the work of their compatriots and contemporaries – often more so. This volume seeks to recapture that sense of intimacy and immediacy, as scholars from both sides of the modern disciplinary divide come together to eavesdrop on the conversations conducted through allusion and intertextual play in works from Petrarch to Milton and beyond. The essays include discussions of Ariosto, Spenser, Du Bellay, Marlowe, the anonymous drama Caesars Revenge, Shakespeare and Marvell, and look forward to the grand retrospect of Shelley’s Adonais. Together, they help us to understand how poets across the ages have thought about their relation to their predecessors, and about their own contributions to what Shelley would call ‘that great poem, which all poets...have built up since the beginning of the world’.
There has never been a retrospective on Christopher Marlowe as comprehensive, complete and up-to-date in appraising the Marlovian landscape. Each chapter has been written by an eminent, international Marlovian scholar to determine what has been covered, what has not, and what scholarship and criticism will or might focus on next. The volume considers all of Marlowe’s dramas and his poetry, including his translations, as well as the following special topics: Critical Approaches to Marlowe; Marlowe’s Works in Performance; Marlowe and Theatre History; Electronic Resources for Marlovian Research; and Marlowe’s Biography. Included in the discussions are the native, continental, and classical influences on Marlowe and the ways in which Marlowe has interacted with other contemporary writers, including his influence on those who came after him. The volume has appeal not only to students and scholars of Marlowe but to anyone interested in Renaissance drama and poetry. Moreover, the significance for readers lies in the contributors’ approaches as well as in their content. Interest in the biography of Christopher Marlowe and in his works has bourgeoned since the turn of the century. It therefore seems especially appropriate at this time to present a comprehensive assessment of past and present traditional and innovative lines of inquiry and to look forward to future developments.
The first book of its kind, Marlowe's Ovid explores and analyzes in depth the relationship between the Elegies-Marlowe's translation of Ovid's Amores-and Marlowe's own dramatic and poetic works. Stapleton carefully considers Marlowe's Elegies in the context of his seven known dramatic works and his epyllion, Hero and Leander, and offers a different way to read Marlowe. Stapleton employs Marlowe's rendition of the Amores as a way to read his seven dramatic productions and his narrative poetry while engaging with previous scholarship devoted to the accuracy of the translation and to bibliographical issues. The author focuses on four main principles: the intertextual relationship of the Elegies to the rest of the author's canon; its reflection of the influence of Erasmian humanist pedagogy, imitatio and aemulatio; its status as the standard English Amores until the Glorious Revolution, part of the larger phenomenon of pan-European Renaissance Ovidianism; its participation in the genre of the sonnet sequence. He explores how translating the Amores into the Elegies profited Marlowe as a writer, a kind of literary archaeology that explains why he may have commenced such an undertaking. Marlowe's Ovid adds to the body of scholarly work in a number of subfields, including classical influences in English literature, translation, sexuality in literature, early modern poetry and drama, and Marlowe and his milieu.
Patrick Cheney's new book places the sublime at the heart of poems and plays in late sixteenth- and early seventeenth-century England. Specifically, Cheney argues for the importance of an 'early modern sublime' to the advent of modern authorship in Spenser, Marlowe, Shakespeare, and Jonson. Chapters feature a model of creative excellence and social liberty that helps explain the greatness of the English Renaissance. Cheney's argument revises the received wisdom, which locates the sublime in the eighteenth-century philosophical 'subject'. The book demonstrates that canonical works like The Faerie Queene and King Lear reinvent sublimity as a new standard of authorship. This standard emerges not only in rational, patriotic paradigms of classical and Christian goodness but also in the eternizing greatness of the author's work: free, heightened, ecstatic. Playing a centralizing role in the advent of modern authorship, the early modern sublime becomes a catalyst in the formation of an English canon.
Shakespeare's Blank Verse: An Alternative History is a study both of Shakespeare's versification and of its place in the history of early modern blank verse (unrhymed iambic pentameter). It ranges from the continental precursors of English blank verse in the early sixteenth century through thedrama and poetry of Shakespeare's contemporaries to the editing of blank verse in the eighteenth century and beyond.Alternative in its argumentation as well as its arguments, Shakespeare's Blank Verse tries out fresh ways of thinking about meter--by shunning doctrinaire methods of apprehending a writer's versification, and by reconnecting meter to the fundamental literary, dramatic, historical, and socialquestions that animate Shakespeare's drama.
The Oxford History of Classical Reception (OHCREL) is designed to offer a comprehensive investigation of the numerous and diverse ways in which literary texts of the classical world have stimulated responses and refashioning by English writers. Covering the full range of English literature from the early Middle Ages to the present day, OHCREL both synthesizes existing scholarship and presents cutting-edge new research, employing an international team of expert contributors for each of the five volumes. OHCREL endeavours to interrogate, rather than inertly reiterate, conventional assumptions about literary 'periods', the processes of canon-formation, and the relations between literary and non-literary discourse. It conceives of 'reception' as a complex process of dialogic exchange and, rather than offering large cultural generalizations, it engages in close critical analysis of literary texts. It explores in detail the ways in which English writers' engagement with classical literature casts as much light on the classical originals as it does on the English writers' own cultural context. This second volume, and third to appear in the series, covers the years 1558-1660, and explores the reception of the ancient genres and authors in English Renaissance literature, engaging with the major, and many of the minor, writers of the period, including Shakespeare, Marlowe, Spenser, and Jonson. Separate chapters examine the Renaissance institutions and contexts which shape the reception of antiquity, and an annotated bibliography provides substantial material for further reading.
The Oxford History of Classical Reception (OHCREL) is designed to offer a comprehensive investigation of the numerous and diverse ways in which literary texts of the classical world have stimulated responses and refashioning by English writers. Covering the full range of English literature from the early Middle Ages to the present day, OHCREL both synthesizes existing scholarship and presents cutting-edge new research, employing an international team of expert contributors for each of the five volumes. OHCREL endeavours to interrogate, rather than inertly reiterate, conventional assumptions about literary 'periods', the processes of canon-formation, and the relations between literary and non-literary discourse. It conceives of 'reception' as a complex process of dialogic exchange and, rather than offering large cultural generalizations, it engages in close critical analysis of literary texts. It explores in detail the ways in which English writers' engagement with classical literature casts as much light on the classical originals as it does on the English writers' own cultural context. This second volume, and third to appear in the series, covers the years 1558-1660, and explores the reception of the ancient genres and authors in English Renaissance literature, engaging with the major, and many of the minor, writers of the period, including Shakespeare, Marlowe, Spenser, and Jonson. Separate chapters examine the Renaissance institutions and contexts which shape the reception of antiquity, and an annotated bibliography provides substantial material for further reading.
Contributions to this volume explore the idea of Marlowe as a working artist, in keeping with John Addington Symonds' characterization of him as a "sculptor-poet." Throughout the body of his work-including not only the poems and plays, but also his forays into translation and imitation-a distinguished company of established and emerging literary scholars traces how Marlowe conceives an idea, shapes and refines it, then remakes and remodels it, only to refashion it further in his writing process. These essays necessarily overlap with one another in the categories of lives, stage, and page, which signals their interdependent nature regarding questions of authorship, theater and performance history, as well as interpretive issues within the works themselves. The contributors interpret and analyze the disputed facts of Marlowe's life, the textual difficulties that emerge from the staging of his plays, the critical investigations arising from analyses of individual works, and their relationship to those of his contemporaries. The collection engages in new ways the controversies and complexities of its subject's life and art. It reflects the flourishing state of Marlowe studies as it shapes the twenty-first century conception of the poet and playwright as master craftsman.