Buccola on Honan, 'Christopher Marlowe: Poet and Spy'
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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. -
Title Page Table of Contents Preface to the 1994
Christopher Marlowe (1564-1607) A Biography g Louis Ule A Hearthstone Book Carlton Press Corp. * New York Acknowledgments g JJermission to reproduce the illustrations (following page lr 290) in this biography was granted as follows: for pages I from the Revels Accounts by the Public Record Office; tor the title page from the L593 edition of Edznard II by the \-ictoria and Albert Museum; for the Cambridge portrait of Christopher Marlowe by the Master and Fellows bf Corpus Christi College, Cambridge; for the Massacre at Paris fragment s- the Folger Shakespeare Library, Washington, DC; for the Hampton Court portrait by The Royal Collectiory St. james Palace, London; for the Venice portrait by the Picture Gallery and Museum of the Royal Shakespeare Theatre; for the title paggs of Sir Philip Sidney's Acradia and his Apology for Poetry bv the Henry E. Huntington Library and Museum; for Man- tegna's ludith and Holofernes, by the National Gallery of Art, \Vashington, DC; for letters of Hugh Sanford by Walter J. G. Verco, M.V.O., Chester Herald of Arms, College of Arms; for Sir William Dugdale's 1634 pen-and-ink sketch of the Shake- speare monument by Sir William Dugdale, Bart. Merevale Hall, Atherstone, Warwickshire; for MS. Cotton Julius C. III i. 280" (handwriting presumed to be that of William Cotton) by the British Library; for altered copy of the Baines note, BL Harley MS 6853 ff307-:308, by the British Library. Contents Preface to the 1994Private Printing ix Introduction xi 1. Origins and Background 1 2. The King's School, Canterbury 11 J. -
UNIVERSITY of DETROIT
UNIVERSITY of DETROIT EXCERPT from the GRADUATE BULLETIN, 1935· 1937 PaBe Nine Use of Theses and Thesis M aterials . The University of Detroit always encourages, and even urges, the use of theses, thesis ma terials, and term papers submitted to instructors or departments of the Unive rsity in in partial fulfillment of the requirements for cred it or degrees, Such use may be oral (before meetings or conv entions) or through publication (period icals, monographs, or books.) However, as such theses, thesis materials, and term papers become the property of the University once they are sub mitted, --- it is expected that the permission of the University be secured for such oral or printed use , and a suitable credit line arranged, T his permis sion, and arrangement of credit line, should also be obser ved in the cas e of the publication of rna terials which the student intends to use later in partial fullfillment of the requirements for credit or degrees, Failure to observe such courtesy may be followed by the withdrawal of the credit or degree, Application for the use of materials and arrang ements mentioned must be made with the Graduate Office of the University of Detroit. THE UNIVERSITY OF DETROIT SOME ASPE CTS OF THE RENAISSANCE AS REFLECTED I N THE WORKS OF CHRISTOPHER MAR LOWE A THES IS SUBMI TTED TO THE GRADUATE FA CULTY IN PARTIAL FULFILLMENT OFTHE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF ENGLI SH BY SISTER M. ROSE ELLEN BROWN, O.P . DETR OIT, MICHIGAN J UNE, 1947 PREFACE The purpose of this thesis is to show t h a t Chri s topher Ma r l owe is an exponent of the Renaissance in that on e can detect some aspects of that a g e reflected i n his wo r ks . -
Tamburlaine the Great: Triumph of the Will
RICE UNIVERSITY Tamburlalne the Great: Triumph of the Will by Joseph A. English A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ART Thesis Director's signature: May, 1967 Abstract Tamburlaine the Great: Triumph of the Will Joseph A. English The Renaissance interest in ontology expresses itself through its astrological, mythological, and cos¬ mological views of the world. This concern for under¬ standing the precise nature and function of the indi¬ vidual is thus particularly important in the drama of the era, which frequently focused on the problem of the individual—the problem of examing and understanding his precise nature as well as his precise role in the ordered world of the Renaissance, This thesis examines the ontological concerns of the Renaissance in general and of Tamburlalne the Great in particular in an at¬ tempt to demonstrate how radically at odds are the worlds, values, and premises of Part I and Part II. Chapter One examines the Renaissance concern for ontology as it is expressed in astrology and mythology. The Renaissance emphasis on self-knowledge and on the proper balance of will and understanding is also examined as another manifestation of its ontological concern, Ovid's concept of metamorphosis is similarly discussed. Chapter Two studies the intellectual environ¬ ment of Christopher Marlowe. By training and tempera¬ ment Marlowe was interested in the individual and in the potentialities and limitations of man’s being. His drama¬ tic works are filled with mythological allusions and as¬ trological references which reflect his ontological a¬ wareness. Chapter Three examines Tamburlaine’s ontological motivation In Part I. -
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. -
Shakespeare's Perfect Crime
Vol.26 DIO 30th Anniversary 2021/1/14 DIO A Playful DIO Play: Shakespeare's Perfect Crime From Topless Queen To Feckless Armada To Godless Resurrection DramatistPoetAtheistSpy Christopher Marlowe Scripts Own Ingenious Escape from Fatal StarChamber Torture And Then: Transforms Into ShakespeareTwoWeeksLater 2 2021/1/14 DIO 26 2021/1/14 DIO 26 3 Download DIO 26, www.dioi.org/jq00.pdf, to click on links. Preface Shakespeare's Perfect Crime The play you are about to read grew out of DIO's investigation of longsimmering doubts regarding Shakespeare's authorship of the works published nearly 4 centuries ago Getting Away With NonMurder under his name. That analysis, BardBeard, can be found at www.dioi.org/ji00.pdf, DIO Volume 18. (Delineation of this effort's approaches: at p.26 below.) One need not read past the raw, uninterpreted facts compiled at BardBeard's p.3 to Page: Programme: realize that Christopher Marlowe probably wrote the works of “Shakespeare” — but the rest of the investigation provides enlightening details regarding the history of the works xA 1586: Spymaster Walsingham & Ultraspy Robert Poley as well as that of the passionate, often ridiculous warfare over the true author's identity, xA1 Fotheringhay Castle: WouldBeRegicidal Mary Queen of Scots Doomed 4 a confusion originally and deliberately triggered (as you will see within) by the besieged xA2 Rose Theatre Premiere of Marlowe's Tamburlaine 5 Marlowe himself, ironically enough. xA3 Spies Extraordinaire: Robert Poley, Nicholas Skeres, Christopher Marlowe 6 DR's mother, Barbara Brooke Dennis Rawlins Avirett (1910/11/101990/1/24), was a gifted novelist (Hear the Cock Crow Dodd, Mead & Co, New York 1949) and a prominent Maryland poet, admired by no less than H.L.Mencken. -
BODIES of POWER in MARLOWE's TAMBURLAINE, the GREAT By
“ACTIONS TOP HIS SPEECH:” BODIES OF POWER IN MARLOWE’S TAMBURLAINE, THE GREAT By Anne Margaret Castro Thesis Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of MASTER OF ARTS In English August, 2012 Nashville, Tennessee Approved: Professor Kathryn Schwarz Professor Dana Nelson INTRODUCTION How does one take down a sovereign? Early modern dramas such as Shakespeare’s Macbeth, Julius Caesar, Coriolanus and Marlowe’s Edward II all answer this question with regicide. Christopher Marlowe’s Tamburlaine plays, however, raise the stakes of political tragedy and ask a question that cannot be so easily answered. How does one take down a totalitarian who has managed to convince every one around him that he and only he has the power to create reality? Christopher Marlowe’s Tamburlaine is a “monster turned to manly shape” (Part 1, II. vi. 16), a totalitarian who seems to live up to the title by speaking a new reality into existence and thereby controlling every thing and every person on the world-stage. In Tamburlaine, The Great Parts 1 and 2, Marlowe’s audience watches “barbarous bloody Tamburlaine” (Part 2, V. i. 133) discursively shape the ways in which those around him see their own bodies and the embodiment of universal ‘truths.’ Tamburlaine operates within an ideological fantasy that insists on his infinite sovereignty through prophesied speech-acts. And yet, contemporaneous translations of Pedro Mexia’s 1540 Silvia de Varia Lecion ensured that Marlowe’s audience knew Tamburlaine’s regime did stop and did lose power by the fourteenth century.1 Furthermore, in the prologue of Part 2, Marlowe explicitly tells his audience that “death cuts off the progress of [Tamburlaine’s] pomp / And murd’rous Fates throws all his triumphs down” (Part 2, Prologue. -
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. -
Creed-Of-Spies-Programme-1.Pdf
CELEBRATING HERITAGE CELEBRATING HERITAGE Andrew Dawson, The Marlowe’s Head Of Artistic Production, talks about the importance of bringing the voice of the past into our own age. “The dead are not absent, they are just invisible”. These were the deliciously haunting words of St Augustine that Hillary Mantel invoked to begin her recent Reith lectures, indicating how the voices of the past continue to whisper invitingly to artists of our own age. Or so it would seem. Perhaps to be more exact, we should note that, while their writings and great works may have come down to us, preserved by careful custodians, most conversations and interactions with the everyday are inevitably absent. It is this absence, therefore, that gives space to the imagination. As Mantel goes on to point out, in her stirring defence of historical fiction, “history is not the past but the method we have devised in organising our own ignorance about the past”. Creed Of Spies started with the listed facts drawn from the tireless work of heroic historians like William Urry and then imagination was used to fill in the gaps, this was not to claim verisimilitude or historical accuracy, but to bask and revel in the wonders of exploring history’s unknowns. History’s inevitable gaps and its partial nature - invite our imagination into these breeches. History and creativity are complementary disciplines and it is this driving conviction that lies behind The Marlowe’s work to champion the celebration of heritage, ensuring that the voices of tomorrow are fired by the muses of yesteryear. -
Who's Who in the Marlowe Chronology
Who’s Who in the Marlowe Chronology Agrippa, Heinrich Cornelius. Supposed magician and author of several books; a possible influence on Doctor Faustus. Aldrich, Simon. Canterbury and Cambridge man who tells an anecdote about Marlowe and ‘Mr Fineux’ (see under 1641). Allen, William, Cardinal. Responsible for the imprisonment of Richard Baines at Douai (see under 1582). Alleyn, Edward. Actor. Took the leading rôle in Tamburlaine, The Jew of Malta and Doctor Faustus. Alleyn, John. Brother of Edward. Arthur, Dorothy. Marlowe’s cousin, who came to live with his family after she was orphaned. Arthur, Thomas. Marlowe’s maternal uncle. Babington, Anthony. Catholic conspirator entrapped by Robert Poley (see under 1586). Baines, Richard. Studied at Douai; detained with Marlowe in Flushing for coining (see under 26 January 1592); author of the ‘Note’ alleging that Marlowe held heretical opinions (see under 26 May 1593). Ballard, John. One of the Babington conspirators (see under 1586). Benchkin, John. Canterbury and Cambridge man who may have been a friend of Marlowe’s. Blount, Christopher. Catholic and eventual stepfather of the Earl of Essex; on the fringes of a number of big political events. His mother was a Poley so he may have been connected with Robert Poley. Bridgeman, Jacob. Marlowe’s successor as Parker Scholar. Bruno, Giordano. Author; eventually burned for heresy; probably the source of the name ‘Bruno’ in Doctor Faustus. Bull, Eleanor. Owner of the house in which Marlowe died. Catlin, Maliverny. Walsingham agent provocateur. Cecil, John. Catholic priest and possible double agent (see under 1590). Chapman, George. Playwright and apparent friend of Marlowe; completed Hero and Leander. -
Renaissance Drama- Unit I
Renaissance Drama- Unit I 1 Background 2 The Elizabethan and Jacobean Ages 3 Offshoots of Renaissance Drama 4 Major poets of this Age 5 Elizabethan Prose 6 Elizabethan Drama 7 Other Playwrights during this period 8 Conclusion 9 Important Questions 1 Background 1.1 Introduction to Renaissance Drama: Renaissance" literally means "rebirth." It refers especially to the rebirth of learning that began in Italy in the fourteenth century, spread to the north, including England, by the sixteenth century, and ended in the north in the mid-seventeenth century (earlier in Italy). During this period, there was an enormous renewal of interest in and study of classical antiquity. Yet the Renaissance was more than a "rebirth." It was also an age of new discoveries, both geographical (exploration of the New World) and intellectual. Both kinds of discovery resulted in changes of tremendous import for Western civilization. In science, for example, Copernicus (1473-1543) attempted to prove that the sun rather than the earth was at the center of the planetary system, thus radically altering the cosmic world view that had dominated antiquity and the Middle Ages. In religion, Martin Luther (1483-1546) challenged and ultimately caused the division of one of the major institutions that had united Europe throughout the Middle Ages--the Church. In fact, Renaissance thinkers often thought of themselves as ushering in the modern age, as distinct from the ancient and medieval eras Study of the Renaissance might well center on five interrelated issues. First, although Renaissance thinkers often tried to associate themselves with classical antiquity and to dissociate themselves from the Middle Ages, important continuities with their recent past, such as belief in the Great Chain of Being, were still much in evidence. -
Marlovian Theory, Venus and Adonis, and the Shakespeare Authorship Question English 317: Introduction to British Literature with Michael Mccloud
Marlovian Theory, Venus and Adonis, and the Shakespeare Authorship Question ENGLish 317: INTROductiON TO BRITISH LITERATURE WITH MichAEL MCCLOUD ABSTR ACT: This project takes a critical look at the existing research for and against the concept of Marlovian Theory and argues for Marlowe’s guise as William Shakespeare in later life. This argument is drawn from not only expert, outside scholarship, but also involves a close examination of Marlovian and Shakespearian texts, specifically Venus and Adonis, and strives to prove that it was, in fact, Marlowe who composed this epic poem. This project also acknowledges the fact that despite what some might consider definitive proof in favor of Marlovian Theory, the Shakespearian authorship question will always remain. The same name appears on some of the greatest plays and poems written in the entirety of English history: William Shakespeare. However, was this poor, uneducated man from Stratford-upon-Avon truly the author of these works? Many believe otherwise. Popular Shakespeare-authorship theories state that other men, better educated and well-respected writers, may have produced these works. Names of possible authors include Sir Francis Bacon, Edward deVere, the seventeenth Earl of Oxford, William Stanley, the sixth Earl of Derby, and Christopher Marlowe. Perhaps the most interesting of these candidates is Christopher Marlowe. Marlowe's secret lives (espionage, alleged homosexuality, and atheism), his untimely death, and his similarities to Shakespeare in writing styles all point to the fact that Marlovian theory may be correct; this young man may have written the plays and poems that today carry the name William Shakespeare. By exploring Marlowe’s past one can conclude that Shakespeare’s famous poem, Venus and Adonis, was actually written by Marlowe, due to the themes, literary devices, style, and symbolism common between Shakespearian and Marlovian works.