Christopher Marlowe
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Christopher Marlowe and the Golden Age of England
The Marlowe Society Christopher Marlowe and the Research Journal - Volume 05 - 2008 Golden Age of England Online Research Journal Article Michael J. Kelly Christopher Marlowe and the Golden Age of England Poet, spy and playwright, Christopher Marlowe was the embodiment of the Elizabethan Golden Age. Marlowe’s work was the product of his ‘Erasmian,’ or Christian humanist, education, the state of affairs in England and his own ability and readiness to satirize the world around him. Marlowe and his fellow contemporaries were a testament to the development of English drama, its pinnacle at the end of the English Renaissance and its eventual decline and suppression at the outbreak of the English Civil War. Their work is historically important because it illustrates, in addition to the development of English theatre, the dramatic political and social events of the time through the public medium of the playhouse. Specifically, the development of the theatre helps explain key features of the English Renaissance such as the creation of English self-identity, adoption of humanistic ideal, the advancement of English over Latin, the role of religion, the intellectual development of a people and parliament and their gradual alienation from the monarchy, the ultimate assertion of parliamentary power, and Civil War. Furthermore, the development of commercial playwriting, acting, stage management and private investment in theatres, an aspect of life today taken for granted, began during this Golden Age in English drama. The history of English playwriting and performance stretches back to at least the ninth century trope ‘Alle Luia’ sung at Easter masses. However, post-classical Christian ritual performance itself probably developed from the ritualistic repetitions of the Empirical Roman Senate.1 This tradition, established in the Church at some point during the early formation of Roman successor states, likely spread to England from Spain, via Ireland, through missionaries. -
An Algorithmic Criticism of Audience Manipulation in Christopher Marlowe’S the Massacre at Paris
An Algorithmic Criticism of Audience Manipulation in Christopher Marlowe’s The Massacre at Paris Galen Cuthbertson Thesis submitted for the degree of Master of Philosophy (English) School of English and Creative Writing The University of Adelaide May 2017 Table of Contents Contents Abstractv Statement vii Acknowledgements viii Notes on the Text ix Introduction1 1 A Close Reading of Spectacle7 1.1 Structure..................................9 1.2 Roles..................................... 24 1.3 Audience Response............................. 28 2 An Algorithmic Criticism of Utterance 33 2.1 Fragmentation................................ 35 2.2 Valence & Affect.............................. 47 2.3 Dido, Queen of Carthage .......................... 55 2.4 Audience Response............................. 65 3 A Topography of Social Space 69 3.1 Character Interaction Networks...................... 70 3.2 Disruption & Coherence.......................... 82 3.3 Audience Response............................. 100 Conclusion 105 A Character Interaction Network Detection Methods 111 B A Model for Part-Doubling Possibilities 115 C Relative Popularity in the Shakespeare Canon 124 i Table of Contents D Figures 127 E Bibliography 156 ii List of Figures List of Figures 2.1 Raw Caesura Detection in The Massacre ................. 36 2.2 Raw Enjambment Detection in The Massacre .............. 37 2.3 Likely Verse Lines with both Caesurae and Enjambments........ 38 2.4 Rolling Mean of Caesurae in The Massacre ................. 41 2.5 Rolling Mean of Enjambments in The Massacre ............. 44 2.6 Raw Sentiment Valence in The Massacre ................. 49 2.7 Transformed Sentiment Valence in The Massacre; Low Pass Size = 3.. 51 2.8 Transformed Sentiment Valence in The Massacre; Low Pass Size = 15. 53 2.9 Speech Length (Words) in The Massacre ................. 57 2.10 Speech Length (Words) in Dido ..................... -
Scadbury Occasion of O" Writinge in One Chamber Twoe Years Synce', As He Claimed to Sir John Puckering Later in a Letter
SEADBURY copied it out himselt he claimed that it belonged to Marlowe. It had been 'shufled with sorne of myne (unknown to me) by some L6. Scadbury occasion of o" writinge in one chamber twoe years synce', as he claimed to Sir john Puckering later in a letter. Kyd was arrested, sent to Bridewell prison under the authority of the Star Chamber and probably tortured; heresy and atheism were serious charges. The papers found in Kyd's room were labelled: 'vile hereticall Conceipts Denyinge the Deity of Christ our Saviour On 5 May 1593, between rr pm and rz midnight, rude verses Jhesus fownd emongst the papers were pinned on the wall of the Dutch churchyard in London. of Thos kydd prisoner'. In difierent writing was added: During the plague, when hardship was almost impossible to 'which he affirmeth that he had firom Marlowe'. bear, discontent flared against foreign merchants like the Dutch, To do Kyd justice, he may who were earning English 'money. The authorities, anxious to have copied out the treatise for Marlowe; though had been unnoticed keep the peace, visited people who might be responsible for the if it in Kyd's papers for two years then Marlowe could not have valued verses. One of these was Thomas Kyd the playwright, who once it enough to try to find it, or Kyd had hidden shared a room with Kit Marlowe; Kyd had recendy been involved it for some reason. Kyd blamed Marlowe when with writers who were working on a play (about Thomas More) the document was found, but had not previously highlighting Londoners' discontent against foreigners. -
Dido, Queen of Carthage Christopher Marlowe
Dido, Queen of Carthage Christopher Marlowe Christopher Marlowe – the man and the mystery 3 Synopsis of Dido, Queen of Carthage 5 Children of the Chapel 7 Vergil and the conception of The Aeneid 8 Gods and religion in Roman times 9 A biography of the Gods 10 Origins of the Trojan War – The Judgement of Paris 11 Dido and her journey to Carthage 12 A family tree of the Alba Longa 13 A rough timeline – Troy to Marlowe 15 Interview with Steven Hoggett – Movement Director 16 Bibliography and further reading 18 Further production details: This workpack is published Director Discover Workpack writer nationaltheatre.org.uk by and copyright The Royal James Macdonald National Theatre Caroline Steinbeis National Theatre Board South Bank Reg. No. 1247285 London SE1 9PX Editor Registered Charity No. T 020 7452 3388 Alice Massey 224223 F 020 7452 3380 Views expressed in this E educationenquiries@ Design workpack are not necessarily nationaltheatre.org.uk Lisa Johnson those of the National Theatre Photographs Sources for some of the dates Johan Persson given in this workpack differ. In each case the most likely date has been chosen, given the available evidence discover: National Theatre Workpack 1 The National’s production This production of Dido, Queen of Carthage had its premiere at the National’s Cottesloe Theatre on 24 March 2009. Gods Jupiter. .Alan David Ganymede. RYan Sampson Mercury or Hermes. .KYLE McPhail Venus. Siobhan Redmond Cupid. Ceallach Spellman / Theo Stevenson Juno. .SUsan Engel Trojans Aeneas. .Mark Bonnar Ascanius . .Freddie Hill/ Thomas Patten Achates. Stephen KennedY Ilioneus. .Alan David Cloanthus . GarY Carr Sergestus. -
Marlowe's Theatre of Cruelty: Threat, Caution and Reaction in Five Plays
Marlowe’s Theatre of Cruelty: Threat, Caution and Reaction in Five Plays TASLEEM ARA ASHRAF Violence is a very common theme in the plays of Christopher Marlowe. The violent scenes in the plays of Marlowe always include knife or stabbing instruments to create a tremendous fear among the audience. Unlike providential history plays and homiletic moralities, Marlowe’s plays enact violence through especially visual and kinetic means, resulting in moments of audience distress that precedes moral judgment and form powerful meaning in themselves. Cutting or stabbing instruments assert meaning beyond mere stage property to bring forth strong reactions among the audience on a Marlovian theatre. His plays can be justifiably compared with the “Theatre of Cruelty” theorized by Antonin Artaud. This article is a study of Marlowe’s relentless and literal use of knife or sword as special prop agent which become the symbol for the emergence of terror as a new and devastating instrument of culture in theatre. The Theatre of Cruelty is a surrealist form of theatre as theorized by Antonin Artaud in his book “The Theatre and its Double”. According to Artaud, the Theatre is not possible without an element of cruelty at the root of every spectacle. In our present state of degeneration it is through the skin that metaphysics must re-enter our minds. He has also explained that cruelty is not sadism or causing pain, but rather a violent austere physical determination to shatter the false reality that lies like a shroud over our perceptions. There are three features of the Theatre of Cruelty as Artaud projects it in theory. -
Marlowe's Ghost in As You Like It
2 Marlowe’s ghost in As You Like It In 1767 Edward Capell recognized Phebe’s breathless exclamation in As You Like It 3.5, Dead Shepheard, now I find thy saw of might, ‘Who ever lov’d, that lov’d not at first sight?’ (82–3)1 as a nod from William Shakespeare to Christopher Marlowe and his Hero and Leander (2.176).2 In 1925 Leslie Hotson’s discovery of documents related to Marlowe’s violent death revived interest in the poet’s presence in the play.3 In May of the same year Oliver W. F. Lodge identified Touchstone’s ‘it strikes a man more dead than a great reckoning in a little roome’ (3.3.12–13) as a glance at the Coroner’s Jury’s verdict on Marlowe’s homicide and an echo of his ‘Infinite riches in a little room’ (The Jew of Malta 1.1.37).4 Six weeks later Paul Reyher connected Touchstone’s remark ‘When a man’s verses cannot be understood …’ (3.3.10–12) to the sup- pression of Marlowe’s translation of Ovid’s Amores.5 Ever since the 1926 Cambridge edition of Quiller-Couch and Dover Wilson declared that Lodge’s suggestion ‘carries conviction’ commentators have variously embraced or disputed these inferences.6 And there the record of Marlowe sightings in As You Like It has rested until now.7 In this chapter I suggest that Christopher Marlowe is not merely an occasional visitor to Shakespeare’s anti-pastoral comedy; rather, that in the interval 1599–1600 Shakespeare wrote As You Like It as an emphatic (if discreet) memorial for Marlowe; that Shakespeare created the character of Jaques in the image of Marlowe; and that Shakespeare himself may have taken the part of Jaques in perfor- mance. -
Christopher Marlowe and Canterbury
The playwright and poet Christopher Marlowe was born in ROUTE DESCRIPTION Canterbury in 1564, the son of a 1 Marlowe’s home: At this point, decide whether to enter His time at the King’s School is shoemaker. His groundbreaking St George’s Church the grounds of Canterbury Cathedral, commemorated by a plaque. use of blank verse and dynamic where fees apply. (Visit www. plotlines paved the way for Christopher Marlowe was baptised at canterbury-cathedral.org or phone Canterbury Cathedral Archives is on William Shakespeare, yet he the church of St George the Martyr on 01227 762862 for details.) the site of the medieval dormitory is remembered also for his Saturday, 26 February1564; the entry in of Canterbury Cathedral Priory and roistering lifestyle, a heady the parish register is held at Canterbury If you go into the cathedral precinct, continues a tradition of record- mixture of scandal, religion and Cathedral Archives. Christopher’s head through the gates and follow keeping at the cathedral that dates espionage. Although it is widely parents, John and Katherine Marlowe, the path to the left of the cathedral back at least 1300 years. The collection Christopher Marlowe believed he met his end in a were married here on 22 May 1561, a round towards the cloisters. contains several documents relating union that lasted nearly forty-four years to Christopher Marlowe and his family. brawl in Deptford, the truth may and Canterbury until their deaths in 1605. Continue straight ahead through the Visit the web page www.canterbury- yet turn out to be stranger than cloisters, where you will find Kent cathedral.org/history/archives to plan a 1.3 MILE (2.1KM) WALK fiction. -
Christopher Marlowe, and Why?
THE GREAT RECKONING: Who Killed Christopher Marlowe, and Why? by Stephanie Hopkins Hughes “His life he contemned in comparison of the liberty of speech.” Thomas Nashe: Jack Wilton (1594) The Oxfordian thesis has forced us into areas of psychology, biography and history–– English, Continental and literary history––that we would not have had to deal with if it were not that Shakespeare’s identity has proven so mystifying. Seeking the truth about the author of the world’s most important and influential literary canon has forced us to examine the facts surrounding the production of other literary works at the time, facts that demonstrate that Shakespeare’s biography is not the only one rife with anomalies. A good two dozen of these exhibit the same sort of problems we find with the Stratford biography. Although the biography of the greatest of Shakespeare’s predecessors, Chris- topher Marlowe, holds together far better than most of these, his death remains as much a mystery as Shakespeare’s identity. Could these two great literary mysteries be related? Birth of the Media, the Fourth Estate It was during the period when Marlowe was writing, the decade from 1583 to 1593, that the modern commercial theater was born in England. By “modern commercial theater” we mean the kind of theater that takes place in a permanent structure meant solely for theatrical performance, that opens its doors to the public on an almost daily basis, and that does not rely on aristocratic patrons or government officials for financing, but can pay its taxes and support its owners, managers and the companies that act in it entirely on the proceeds of ticket sales to members of the public at large. -
Christopher Marlowe and the Radical Christianity of the Polish Brethren
Quidditas Volume 38 Article 9 2017 Marlowe’s Radical Reformation: Christopher Marlowe and the Radical Christianity of the Polish Brethren Kristin M.S. Bezio University of Richmond Follow this and additional works at: https://scholarsarchive.byu.edu/rmmra Part of the Comparative Literature Commons, History Commons, Philosophy Commons, and the Renaissance Studies Commons Recommended Citation Bezio, Kristin M.S. (2017) "Marlowe’s Radical Reformation: Christopher Marlowe and the Radical Christianity of the Polish Brethren," Quidditas: Vol. 38 , Article 9. Available at: https://scholarsarchive.byu.edu/rmmra/vol38/iss1/9 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Quidditas by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Quidditas 38 (2017) 135 Marlowe’s Radical Reformation: Christopher Marlowe and the Radical Christianity of the Polish Brethren Kristin M.S. Bezio University of Richmond Although scholars of both literature and history have made arguments for Christopher Marlowe’s religious belief in Catholicism, the Church of England, and even atheism (which could have been conflated with both by different parties during his lifetime), few consider the belief system of the Polish Brethren, a precursor to Unitarianism established by one Faustus Socinus. This essay uses historical and social network analyses to suggest a close tie between Marlowe’s acquaintances and believers in Socinianism. Clues in Doctor Faustus and Massacre at Paris suggest Marlowe’s skepticism concerning the doctrines of Catholicism, Lutheranism, and Calvinism. Furthermore, repeated references to Poland and the beliefs of the Socinians suggest Marlowe’s familiarity with the doctrine of the Polish Brethren. -
The Massacre at Paris
ElizabethanDrama.org presents the Annotated Popular Edition of THE MASSACRE AT PARIS by Christopher Marlowe Written c. 1592 First Published: c. 1594 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2020. This annotated play may be freely copied and distributed. THE MASSACRE AT PARIS By Christopher Marlowe Written c. 1592 First Published: 1594 DRAMATIS PERSONAE. INTRODUCTION to the PLAY The French Royal Family: The Massacre at Paris was originally penned by Charles IX, King of France. Christopher Marlowe, but the truncated and mangled The Duke of Anjou, his brother, afterwards King version that was published in the early 1590's, after Henry III. Marlowe had been killed, can hardly be considered repre- Catherine, Queen-Mother of France. sentative work. The edition that has been bequeathed to Margaret, sister of the king. us is essentially a parody of a gore-fest: most of the scenes are brief, and half of them contain at least one murder. With The Brothers Guise: its blood-soaked plot and collection of villains designed Henry, the Duke of Guise, the eldest brother. to be especially odious to the English - they were French The Duchess, wife to Guise. and Catholic - The Massacre at Paris must have been a Maid to the Duchess. great treat for its original London audience. The Son of Guise. Charles, the Duke of Dumaine, the middle brother. NOTES on the ANNOTATIONS Louis, Cardinal of Lorraine, the youngest brother. Mention of Dyce, Ribner, and Bennett in the annota- Catholic Nobles of France: tions refers to the notes provided by these editors in their Gonzago. -
Performing Massacre
Performing Massacre Efterpi Mitsi National and Kapodistrian University of Athens, Greece __________________________________________________________________________________________ Abstract Christopher Marlowe's The Massacre at Paris, a play which probably dates from 1592 but has reached posterity in a mangled form, enacts the incorporation of religious and state politics in the theatre. Through a sequence of short scenes characterized by senseless brutality and black humor, Marlowe revisits one of the darkest episodes of French history, the Saint Bartholomew‘s Day Massacre, which took place on the 24th and 25th August 1572. Dramatizing the slaughter of thousands of Protestants by Catholics, the play not only reflects on the significance of massacre as a political term for an increasingly absolutist Renaissance Europe but also translates the violence of massacre into aesthetic form. Itself alien within the body of Marlowe’s dramatic works, The Massacre at Paris has rarely been performed after its Elizabethan successful performances at the Rose; this is not surprising given the state of the extant text and its dismissal by many critics as crude anti-Catholic propaganda. Yet, the Massacre's corrupt and incomplete form, political ambiguities and emphasis on theatrical violence have inspired two contemporary artists, the French director Guillaume Delaveau and the Austrian composer Wolfgang Mitterer, to rethink and revive it. Both Delaveau's Massacre à Paris, first performed at Toulouse in 2007 and Mitterer's experimental opera Massacre, composed in 2003 and performed in 2008 and 2010 in France, refer to recent wars and atrocities and rejoice in the irony of the play. This paper seeks to investigate the play's ability to convey political thought and provoke contemporary audiences by reading it together with Delaveau and Mitterer's adaptations. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Writing Marlowe As Writing Shakespeare: Exploring Biographical Fictions Rosalind Barber Doctor of Philosophy in English Literature University of Sussex September 2010 I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signed __________________________ i Table of Contents SUMMARY ............................................................................................ ii Acknowledgements ................................................................................iv A note on spellings .................................................................................v 1. INTRODUCTION .................................................................................... 6 2. DECONSTRUCTING MARLOWE’S VIOLENCE ....................................... 10 3. RECONSTRUCTING MARLOWE THROUGH THE SONNETS ....................