 |
The
Reckoning
The death (possible murder) of Christopher Marlowe is one of the most fascinating of all true crimes. Set in Elizabethan London with a cast of characters that include William Shakespeare, "The Reckoning" provides a intriguing explantion for the events of that strange day when after hours of drink and talk, Kit Marlowe ended up dead, stabbed through the eye. The official story: a quarrel over the bill or reckoning. But mix in politics, espionage (Marlowe was a spy), homosexuality and literary genuis and the official story gets shaken to its tidy core. This is a very fine work, thoughtful, well-researched and crisp, capturing the time and place effectively and believably, and providing a rational context for the known events. Apart from the loss of Marlowe's death at the height of his genius, the story provides a compelling view of the murkier side of life among the young bloods of the aging Elizabeth's world. Not only a class A unsolved mystery, "The Reckoning" is also important resource for serious readers of late 16th c. poetry and drama. NB: Marlowe is the only playwrite Shakespeare quoted in one of his own works -- a sign of respectful rivalry.
|
 |
Christopher Marlowe is one of the greatest authors of the Renaissance; his plays, poems and poetic translations are filled with violence, wit and awful beauty. This comprehensive edition is the only one-volume collection of all Marlowe's plays to include both the 1604 and 1616 texts of Doctor Faustus, uncollated. All the plays are newly edited, incorporating significant developments in Marlovian scholarship in recent years.
|
 |
The Classic Hundred Poems : All Time Favorites
These "Top 100" poems were deter-mined by the consensus of over one thousand anthologists and arranged in chronological order. The poems, mostly by British poets, span the canon, from "Sir Patrick Spens" to Eliot and Dylan Thomas, and are read by 16 contemporary poets. However, of the 47 poets represented, only 4 were born after 1900 and only 2 are women (Dickinson and Julia Ward Howe). Each poet is introduced with a biographical sketch--ably rendered by actress Laura Esterman--which puts him/her in a cultural context. In addition, each poem is preceded by a brief comment on the work. The poets who read the poems bring their own reading styles to the program. One clear advantage of the CD edition of this program is that a listener can program a CD player to play only the poems and skip the introductions. P.B.J. (c)AudioFile, Portland, Maine --This text refers to the Audio Cassette edition.
|
 |
Well i just started reading the "damn" book and I can understand why some people would not like it. I belive Mr.Mrlowe crosses lots of bridges in where words and actions overcomes one's mind, trying to forget that you are reading the name lucifer repeatedly. It is important to remember that is just a book, a well written one by the way. I am fascinated by the way he prepares you for whats coming, the small battle with the good and bad Angels its the begining of an ambitious and evil portrayal. I think that the main character is evil but somehow heroic, by the way he wants the power to defeat his foes nad defend his friends, but that is just a point of view. I am sure i will keep enjoing it untill the end, where i will come back with more and final thoughts.
|
 |
Stevie Simkin provides an authoritative overview of all Marlowe's work including a thorough investigation of his major plays, Tamburlane, Edward II, The Jew of Malta and Doctor Faustus, as well as a full discussion of The Massacre of Paris, Dido Queen of Carthage and all his extant poetry. He considers Marlowe's life and times, as well as his work, in the light of current critical theory. Provides comprehensive and full analysis of all Marlowe's dramatic and non-dramatic works, brings the texts to life and emphasizes the performance aspects of the texts. This is a controversial and challenging reading which re-opens debates about Marlowe's status as a radical figure and as a subversive playwright.
|
 |
The edition of Edward II I read was the New Mermaid Series one, which had a very good and informative introduction, and has the spelling modernized. The spelling modernization extends to place names as well as general terms. I am not sure how I feel about spelling modernization, as it is nice to see how the work was originally spelled, but it made the work very easy to read. The play itself is amazing, very engaging even though it is a history, and is mostly based on things that actually happened. The language is not as flowery as Shakespeare, but is lovely nonetheless. Some of the characters of the play are very fickle, and seem to suddenly change as you read the text of the play. (Queen Isabella goes from devoted and self-sacrificing wife to cunning adulteress.) It makes more sense on stage, and after seeing this play, it was easier to see how good it is.
|
 |
Christopher Marlowe's four major plays are daring explorations of themes such as the nature of kingship, salvation and damnation, sexuality, and ethnic prejudice. This book links in-depth discussions of extracts from these major to enhance our understanding of Marlowe's themes, style, and significance in the evolution of Elizabethan drama.
|
 |
This is the latest volume in the acclaimed Oxford English Texts edition of Marlowe--the first complete edition of the works that provides both an original spelling text and detailed commentary. Roma Gill here presents an anthoritative text of this great play derived from the 1633 Quarto.
|
 |
Christopher Marlowe: The Complete Poems Marlowe's gifts as a dramatist are easily matched by his poetic accomplishments in other genres. While some may find his declamatory style and tendency toward bombast wearying in the plays, it is perfectly suited to the frieze-like beauties of HERO AND LEANDER, and particularly to the rhetorical excesses of Lucan, whose first book Marlowe translated "line for line." And few translations of Ovid AMORES capture his eroticism and wit as well as Marlowe's. A must-have selection of poems, convenient and affordable, although the apparatus and notes are not as helpful as those in the Penguin edition (now sadly out of print) edited by Stephen Orgel.
|
 |
Dr. Faustus : In a New Adaptation I had purchased this version of Marlowe's work because it was convenient at the time. While I thought it was a good story, it was also heavily edited. It did spur my desier to find the original A and B texts of the play, and now that I have read the more complete version I feel that this particular revision actually cheats the reader of the true depth of the play and the fall of Faustus. Many scenes from the original, such as the knight's plot of revenge, were removed. The author claimed such cuts were made for the sake of a more 'performable' play, which may be true, but in this, and other instances, I felt the material cut was crucial to filling out the plot and improving character develop throughout the story. I read both versions with a directors eye, and I would urge anyone considering this purchase to look for 'The Complete Plays' instead.
|
 |
|
 |
Christopher Marlowe A Literary Life Christopher Marlowe: A Literary Life situates the individual works of Marlowe within the context of his overall literary career. Areas covered include: Marlowe's preference for foreign settings and his unusually accurate depictions of them; the importance of his scholarly background; his consistent portrayal of family groups as fissured and troubled; the challenge that his works posed to contemporary orthodoxies about religion, sexuality, and government; and the long and sometimes spectacular afterlife of his works and of his literary reputation as a whole.
|
 |
The Tragical History of the Life and Death of Doctor Faustus
|
 |
Marlowe's final play is also his masterpiece. To be sure, the dramatic events in this play really did happen, but Marlowe shows himself at his best when he paints the picture. At first, Marlowe masterfully allows us to detest Edward for undoing all the fine work of his father Edward Longshanks. We also are able to feel sorry for Mortimer and Isabella. (the eventual villains). Isabella feels neglected and Mortimer can not stand to see the fine work of Edward Longshanks undone. Later, we come to have some respect for Edward II when he shows himself to have some of his father's fine qualities and he crushes the first rebellion against him with courage and intelligence. When the second uprising successful, we no longer are lead into any feelings of admiration for Mortimer and Isabella. Once they have power they are more vile and disgusting than Edward II ever was. By Act 5.1, Marlowe gives Edward II moving soliloquies and does not allow our new won pity to slack for a moment. The final scene of this play when Edward II's 17 year old son Edward III flips the tables, crushes his corrupt mother, has Mortimer put to death, and offers prayers to his murdered father is a scene that is almost unsurpassed in literature. To be sure, this did actually happen, but Marlowe not only tells us what happened, but colors it with his superb mastery of the language.
|
 |
Constructing Christopher Marlowe
|
 |
Doctor Faustus : Divine in Show This accessible critical work on Marlowe's most famous play includes discussion of the work's influence, historical context and critical reception, and a helpful chronology. The textual reading is fairly broad, covering the play's source, design and genre; divinity, magic and the inversion principle in the play; theatricality and post-modern criticism; and comic and tragic elements. Annotation copyright Book News, Inc. Portland, Or.
|
 |
|
 |
|
 |
Marlowe's Counterfeit Profession : Ovid, Spenser, Counter-Nationhood
|
 |
Critical Essays on Christopher Marlowe Critical Essays on British LiteratureJames Nagel, Series Editor, University of GeorgiaG. K. Halls three series of critical essays give comprehensive coverage of major authors worldwide and throughout history. The full range of literary traditions and schools is represented. Each new volume is carefully conceived and developed to fill a gap in the literary criticism available today.Volume editors are established authorities on the lives, works, and critical receptions of their subjects. They are uniquely qualified to ensure the spectrum of critical controversies, trends, and techniques inspired by their subjects in their own countries and abroad, in their own eras and today.Each volume features:an introduction which provides the reader with a lucid overview of criticism from its beginningsilluminating controversies, evaluating approaches, and sorting out the schools of thought the most influential reviews and the best of reprinted scholarly essaysa section devoted exclusively to reviews and reactions by the subjects contemporariesoriginal essays, new translations, and revisions commissioned especially for the seriespreviously unpublished materialssuch as interviews, lost letters, and manuscript fragments a bibliography of the subjects writings and interviews a name and subject indexThe great English dramatist and poet best known for Doctor Faustus, Christopher Marlowe is the focus of this excellent collection of essays.James Nagel, Series Editor, University of Georgia
|
 |
Christopher Marlowe and George Peele This work is concerned with the evaluation of rhetoric as an essential aspect of Renaissance sensibility. It is an analysis of the Renaissance world viewed in terms of literary style and aesthetic. Eight plays are analysed in some detail: four by George Peele: The Battle of Alcazar, Edward I, David and Bethsabe, and The Arraignment of Paris; and four by Christopher Marlowe: Dido Queen of Carthage, Tamburlaine Part One, Dr Faustus and Edward II. The work is thus partly a comparative study of two important Renaissance playwrights; it seeks to establish Peele in particular as an important figure in the history and evolution of the theatre. Verbal rhetoric is consistently linked to an analysis of the visual, so that the reader/viewer is encouraged to assess the plays holistically, as unified works of art. Emphasis is placed throughout on the dangers of reading Renaissance plays with anachronistic expectations of realism derived from modern drama; the importance of Elizabethan audience expectation and reaction is considered, and through this the wider artistic sensibility of the period is assessed.
|
 |
Christopher Marlowe and the Renaissance of Tragedy Cole (English, Northwestern U.) examines how Marlowe (1564-93) received the major literary and dramatic traditions of tragic, and transformed them into plays that recast and redefined the genre's themes and modes. He provides a chronology and a brief review of the very few known facts about his short life, but avoids the speculation necessary for a full biography. He demonstrates the playwright's use of the classical, Machiavellian, De Casius, and allegorical traditions; discourse and spectacle; and his legacy. Annotation copyright Book News, Inc. Portland, Or.
|
 |
Tamburlaine the Great : Christopher Marlowe
|
 |
The Gift of Fire : Aggression and the Plays of Christopher Marlowe
|
 |
Marlowe, History, and Sexuality : New Essays on the Life
|
 |
The Irony of Identity : Self and Imagination in the Drama of Christopher Marlowe
|
 |
|
 |
|
 |
Marlovian Tragedy : The Play of Dilation
|
 |
Sex, Gender, and Desire in the Plays of Christopher Marlowe |
| Click here to see more titles ---->>> |
©2003–present ChristopherMarlowe.com
