By M.L. Stapleton
Contributions to this quantity discover the assumption of Marlowe as a operating artist, based on John Addington Symonds' characterization of him as a "sculptor-poet." during the physique of his work-including not just the poems and performs, but in addition his forays into translation and imitation-a wonderful corporation of confirmed and rising literary students lines how Marlowe conceives an idea, shapes and refines it, then remakes and remodels it, in simple terms to refashion it additional in his writing method. those essays unavoidably overlap with each other within the different types of lives, level, and web page, which indications their interdependent nature concerning questions of authorship, theater and function background, in addition to interpretive matters in the works themselves. The participants interpret and learn the disputed evidence of Marlowe's existence, the textual problems that emerge from the staging of his performs, the serious investigations coming up from analyses of person works, and their courting to these of his contemporaries. the gathering engages in new methods the controversies and complexities of its subject's existence and paintings. It displays the flourishing country of Marlowe reviews because it shapes the twenty-first century perception of the poet and playwright as grasp craftsman.
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Additional resources for Christopher Marlowe the Craftsman: Lives, Stage, and Page
He has analyzed the influence of these earlier models on Elizabethan drama throughout his career: Jonson’s Moral Comedy (1971), on Volpone, The Alchemist, and Bartholomew Fair; and Shakespeare and the Late Moral Plays, concerning Richard III, 1 Henry IV, and All’s Well That Ends Well. A theme in his work is the exploration and development of the concept of “theatrical vocabulary” to expand the sense of what playwrights, players, and audiences shared in their collective experience in the theater.
3 See the Bibliography for the publishers and dates of the books mentioned in this paragraph and the three succeeding it. 4 See Harbage, Annals of English Drama, 975–1700, 3rd. edition, rev. edition. Sylvia Stoler Wagonheim (London: Routledge, 1989); Whitney, “Out of Service and in the Playhouse: Richard Norwood, Youth in Transition and Early Response to Dr. Faustus,” Medieval and Renaissance Drama in England 12 (2000): 166–89, and Early Responses to Renaissance Drama (Cambridge: Cambridge University Press, 2006); Lunney, Marlowe and the Popular Tradition: Innovation in the English Drama before 1595 (Manchester: Manchester University Press, 2002).
Here, Skura discusses new intersections between the two playwrights, part of her larger project on Shakespeare’s sources. Marlowe’s one known work for the private stage, The Tragedy of Dido, a play about love written for boy actors in the mid 1580s and published in 1594, influenced its complementary successor in the public theater, Antony and Cleopatra, as well as A Midsummer Night’s Dream, also performed, initially, for a coterie audience. Shakespeare obviously revises Marlowe in these instances, a tendency Skura contends that we can see in the early 1590s, since Love’s Labour’s Lost transforms the bloody soldiers and scheming ladies of The Massacre at Paris into lovers imbued with elegance (as well as logorrhea).