DOCSLIB.ORG

2016; Pub. 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2016; Pub. 2018 2016 Volume 6 Volume Volume 6 2016 Volume 6 2016 EDITORS at Purdue University Fort Wayne at Mount St. Mary’s University Fort Wayne, Indiana Emmitsburg, Maryland M. L. Stapleton, Editor Sarah K. Scott, Associate Editor Cathleen M. Carosella, Managing Editor Jessica Neuenschwander, Pub. Assistant BOARD OF ADVISORS Hardin Aasand, Indiana University–Purdue University, Fort Wayne; David Bevington, University of Chicago; Douglas Bruster, University of Texas, Austin; Dympna Callaghan, Syracuse University; Patrick Cheney, Pennsylvania State University; Sara Deats, University of South Florida; J. A. Downie, Goldsmiths College, University of London; Lisa M. Hopkins, Sheffield Hallam University; Heather James, University of Southern California; Roslyn L. Knutson, University of Arkansas, Little Rock; Robert A. Logan, University of Hartford; Ruth Lunney, University of Newcastle (Australia); Laurie Maguire, Magdalen College, Oxford University; Lawrence Manley, Yale University; Kirk Melnikoff, University of North Carolina at Charlotte; Paul Menzer, Mary Baldwin College; John Parker, University of Virginia; Eric Rasmussen, University of Nevada, Reno; David Riggs, Stanford University; John P. Rumrich, University of Texas, Austin; Carol Chillington Rutter, University of Warwick; Paul Werstine, King’s College, University of Western Ontario; Charles Whitney, University of Nevada, Las Vegas. Marlowe Studies: An Annual is a journal devoted to studying Christopher Marlowe and his role in the literary culture of his time, including but not limited to studies of his plays and poetry; their sources; relations to genre; lines of influence; classical, medieval, and continental contexts; perfor- mance and theater history; textual studies; the author’s professional milieu and place in early modern English poetry, drama, and culture. From its inception through the current 2016 issue, Marlowe Studies was published at Purdue University Fort Wayne in Indiana. In 2018, the journal was placed under the editorship of Lisa Hopkins at Sheffield Hallam University in the United Kingdom. For 2016 and earlier issues, please contact the College of Arts and Sciences at Purdue University Fort Wayne. For future publications and submissions, please contact Dr. Hopkins at Sheffield Hallam. We thank our small community, especially our authors, for their time, attention, and scholarship. Many apologies for the delays affecting this issue. We look forward to seeing the future form our special journal acquires at its new home. Regards, Cathleen M. Carosella Managing Editor 20 July 2018 Under US copyright law, no part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. ISSN 2159-8231 (Print) 2159-824X (Online) © 2018 Purdue Fort Wayne, College of Arts and Sciences Abbreviations for Marlowe’s Works AOE All Ovid’s Elegies COE Certain of Ovid’s Elegies Dido Dido, Queen of Carthage DFa Doctor Faustus, A-text DFb Doctor Faustus, B-text E2 Edward II HL Hero and Leander JM The Jew of Malta Luc Lucan’s First Book Man Manwood Elegy / Epitaph MP The Massacre at Paris PS “The Passionate Shepherd to His Love” 1Tam Tamburlaine the Great, Part 1 2Tam Tamburlaine the Great, Part 2 MARLOWE STUDIES: AN ANNUAL 6 (2016) Table of Contents 1 “Moving Marlowe: The Jew of Malta on the Caroline Stage” LISA HOPKINS 17 “Telescoping Translation: Hero and Leander, Lenten Stuffe, and Bartholomew Fair” KRISTEN ABBOTT BENNETT 41 “Of Knife, Quill, Horn, and Skin: Inscription and Violence in Christopher Marlowe’s Edward II” JOHN FRONGILLO 57 “Media Translations: Words and Bodies in Christopher Marlowe’s The Jew of Malta” JOHN FRONGILLO 73 “First Thing We Do, Let’s Kill All the Children” STEPHEN GUY-BRAY 85 “‘Another Bloody Spectacle’: Excessive Violence in Christopher Marlowe’s Tamburlaine Plays” JENNIFER LODINE-CHAFFEY 103 “The Year’s Work in Marlowe Studies: 2015–16” DAVID MCINNIS 117 NOTES ON CONTRIBUTORS Marlowe Studies: An Annual 2016 LISA HOPKINS Moving Marlowe: The Jew of Malta on the Caroline Stage In spring 2016, I submitted a proposal to Shakespeare’s Globe Education to run a Research in Action workshop on staging The Jew of Malta at an indoor playhouse. The workshop took place on June 6, 2016, in the Sam Wanamaker Playhouse, with the help of Will Tosh from Globe Education and four actors—David Acton, Ben Deery, Robert Mountford, and Aslam Percival—who had not only studied the parts of the play they haD been askeD to prepare but haD read the whole of it and were brim-full of ideas (not forgetting Robbie Hand, who very nobly played the entire Ottoman army as well as taking notes during the workshop).1 In this article, I am first going to discuss what happened at the workshop and then move on to consider what The Jew of Malta might have looked like on the Caroline stage, with specific reference to two other plays that I suggest might have impacted its reception in the 1630s, Henry Chettle’s Tragedy of Hoffman and John Ford’s Love’s Sacrifice. _______ 1. I should acknowleDge at the outset that I was only aBle to Do this Because I haD help from a number of sources: SheffielD Hallam University, which provideD funDing; Dr. Will Tosh of GloBe EDucation, who helpeD me plan the Day, Directed the scenes, anD provideD invaluaBle assistance with the workshop; DaviD Acton, Ben Deery, Robert Mountford, anD Aslam Percival; RobBie HanD; anD finally the auDience, who entereD magnificently into the spirit of the occasion anD maDe some eXtraordinarily helpful suggestions. Thanks are also Due to Dr. Farah Karim-Cooper; Patrick SpottiswooDe; the events team at GloBe EDucation, with special noDs to Rebecca Casey, Emma Hayes, Elspeth North, anD Beth Fisher; Faye Powell-Thomas; the BoX office staff; anD the stewards, who kinDly volunteereD their time. Finally I am grateful to Pavel DraBek, Matthew Steggle, Richard WooD, Daniel CaDman, Kate Wilkinson, Louise Powell, Kibrina Davey, Caroline Heaton, anD Shirley Bell, who heard anD commented on a version of this paper at the seconD Sheffield Hallam Caroline Colloquium. 2 The Jew of Malta on the Caroline Stage The purpose of the Research in Action workshops is to explore performance practice. My proposal was prompted by the fact that the first performance of The Jew of Malta of which we have any knowledge was on Saturday, February 26, 1592, at the Rose, but the text of the play was not printed until 1633, which begs obvious questions about the extent to which the play as we now have it is the same as the play which was acted in the 1590s, or whether it has suffered corruption or revision. In 1977 Kenneth Friedenreich noted that Criticism of The Jew of Malta has persistently sought a satisfactory explanation for the apparent change in Marlowe’s conception of his hero, Barabas, who seems cast in the first two acts in the familiar mold of a Marlovian superman, but who is somehow transformed in the last three acts into a comical revenger. Until recently, there was widespread belief among the play’s critics that its text was corrupt, and that the radical transformation of Barabas after act 2 was the work of a redactor, probably Thomas Heywood, and not Marlowe.2 The 1633 printing was accompanied by a “Prologue Spoken at Court” and a “Prologue to the Stage, at the Cockpit,” the second of which begins “We know now how our play may pass this stage,”3 and it was that question—which speaks directly to Globe Education’s research priority of exploring the history of dramatic texts and their reception—which lay at the heart of the workshop: how does a play written for performance in an open-air amphitheatre in the 1590s translate to indoor performance in the 1630s? The prologue spoken at the Cockpit goes on to say that “by the best of poets in that age / The Malta Jew had being, and was made; / And he then by the best of actors played,”4 but Edward Alleyn was no longer available to play Barabas and the kind of verse generally heard on the Caroline stage was very different from Marlowe’s mighty line (the revival at the Cockpit will have been running concurrently with two comedies by Shirley). _______ 2. Kenneth Friedenreich, “‘The Jew of Malta’ and the Critics: A Paradigm for Marlowe Studies,” Papers on Language and Literature 13.3 (1977): 318–326, 318. He also observes that in 1937 Philip Henderson suggested that the play was a collaboration between Marlowe and Kyd (322). 3. Christopher Marlowe, The Jew of Malta, in The Complete Plays, ed. Mark Thornton Burnett (London: Everyman, 1999), 458–535, 460. 4. Marlowe, Jew of Malta, “The Prologue to the Stage, at the Cockpit,” 2–4. Lisa Hopkins 3 The research questions I initially put forward were: • How well is the action of The Jew of Malta suited to the stage of the Sam Wanamaker Playhouse? • What happens to Marlowe’s mighty line in the intimacy of an indoor theater? • Although the play was originally written for daylight performance, does it work by candlelight? • Most importantly, does acting the play indoors enable us to see or guess anything about the nature of the text? Does it act like a play originally written for performance in very different circumstances, or are there any signs that any changes might have been made to it? • Are there, in short, any clues to whether the 1630s text was influenced by the circumstance of 1630s performance, which in turn might help us to address that crucial question of whether the play as we have it represents the play as Marlowe left it? In the interval between proposing the workshop and actually doing it, another question also made itself felt: The Jew of Malta is obviously a play about religion, but is it also a religious play? I began to think about this after seeing the Royal Shakespeare Company production of Doctor Faustus at the Swan in spring 2016, which made me understand for the first time why Alleyn wore a cross when playing the role and how it was indeed possible for so strong a sense of transgression and of the numinous to be created that an audience member might imagine that they saw an extra devil on the stage.
Load more

Recommended publications
  • “I Am No Woman, I”: Gender, Sexuality, and Power in Elizabethan Erotic Verse
    Volume 2 (2), 2009 ISSN 1756-8226 “I Am No Woman, I”: Gender, Sexuality, and Power in Elizabethan Erotic Verse CHLOE K PREEDY University of York Introduction: England’s “Female Prince” Elizabeth Tudor’s accession to the English throne in 1558 significantly challenged and disrupted contemporary assumptions about gender roles. Elizabeth I was an anointed monarch, but she was also a woman in a world of men. Early modern England was a patriarchal society in which the monarch’s control over the kingdom was often compared to a father’s power over his household (Shuger, 1997), and virtually all the powerful figures at Elizabeth’s court were male, including the members of her Privy Council. The expectation was that the highest political position of all, that of England’s sovereign, should also be held by a man, and in contemporary writings on the institution of monarchy the ruler’s body is always imagined to be male. During Elizabeth I’s reign, however, tension was generated by the gap between rhetoric and reality; while the ideal royal body might be gendered male in political discourse, Elizabeth’s own physical body was undeniably female. Elizabeth I’s political androgyny – she was known at home and abroad as a “female Prince”, and Parliamentary statute declared her a “king” for political purposes (Jordan, 1990) – raised serious questions about the relationship between gender and power, questions which were discussed at length by early modern lawyers and political theorists (Axton, 1977). However, such issues also had an influence on Elizabethan literature. Elizabeth I often exploited her physical femininity as a political tool: for instance, she justified her decision not to marry by casting herself as the unobtainable lady familiar to Elizabethans from the Petrarchan sonnet tradition, 1 and encouraged her courtiers to compete for political favour by courting 1 Francesco Petrarch was a fourteenth-century Italian scholar and poet who wrote a series of sonnets ( Il Conzoniere ) addressed to an idealised, sexually unavailable mistress.
    [Show full text]
  • Gay Revolte the Marlovian Dandy in Edward II
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1999 Gay revolte the Marlovian dandy in Edward II Joshua Corey The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Corey, Joshua, "Gay revolte the Marlovian dandy in Edward II" (1999). Graduate Student Theses, Dissertations, & Professional Papers. 2430. https://scholarworks.umt.edu/etd/2430 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike MANSFIELD LIBRARY Tlie University of IVIONTANA Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. ** Please check "Yes" or "No" and provide signature ** Yes, I grant permission No, I do not grant permission Author's Signature Date " Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. Gay Révolté. The Marlovian Dandy in Edward II by Joshua Corey B.A., Vassar College, 1993 Presented in partial fulfillment of the requirements for the degree of Master of Arts The University of Montana 1999 Approved by: Chan: Dean of the Graduate School Date UMI Number: EP34823 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted.
    [Show full text]
  • Mortimer the Junior As a Machiavellian Character in Marlowe's Edward Ii
    Humanitarian & Natural مجلة العلوم اﻹنسانية والطبيعية Sciences Journal مجلة علمية محكمة ISSN: (e) 2709-0833 www.hnjournal.net H NSJ RESEARCH ARTICLE MORTIMER THE JUNIOR AS A MACHIAVELLIAN CHARACTER IN MARLOWE’S EDWARD II 1 Fatima Zohra KHELIFI 1 University of Jordan Department of English language and literature Supervised by\ Professor: Dr. Hussein HAWAMDEH Accepted at 15/11/2020 Published at 01/12/2020 Abstract This paper attempts to explore and examine Mortimer the junior in Christopher Marlowe’s Edward II as a Machiavellian character. this study at first represent in brief the author and his main concerns, then it gives an initial representation and introduction to the play, next it emphasis on the analytical section that concern with the character of Mortimer as Machiavellian villain in the light of Machiavellianism as it was understood in the Elizabethan period and associated with villainy and evil. Thus, the central focus of this extended research paper is to examine to what extent Mortimer is a Machiavellian character connecting it to Machiavellian discourse. Key Words: Edward II- Christopher Marlowe- Mortimer the junior-Machiavellian-Machiavellianism Mortimer the junior as a Machiavellian character in Marlowe’s Edward II HNSJ Volume 1. Issue 6 Christopher Marlowe was one of the most significant and major figure of the Renaissance. He was the “Elizabethan poet, playwright, and translator; he was baptized on February 26, 1564 in Canterbury, England. There is little to be known about his childhood and his early education. At age fifteen he enrolled as a scholar at the King’s School, Canterbury. Then, he went on to Cambridge University’s Corpus Christi College, where he graduated with a BA degree in 1584.
    [Show full text]
  • 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.
    [Show full text]
  • The Influence of Ovid's Metamorphoses and Marlowe's
    The Influence of Ovid’s Metamorphoses and Marlowe’s Hero and Leander upon Shakespeare’s Venus and Adonis Most literary critics and historians of English Renaissance literature agree that the basic story of Shakespeare’s epic poem Venus and Adonis is drawn from Book Ten of Ovid’s first-century Latin narrative poem Metamorphoses, namely Arthur Golding’s 1567 translation of the text (a book which Shakespeare probably first read as a child). Ovid’s version of the legend of Venus and Adonis tells the story of Venus taking Adonis on as her first human lover. The two become romantic companions and hunting partners. The mortal Adonis wishes to hunt dangerous beasts, hence Venus attempts to dissuade him but Adonis ignores Venus and is killed by a bore he is hunting. Shakespeare reworks Ovid’s basic story into a poem that is nearly 2,000 lines in length. Shakespeare, however, does not merely adapt Ovid’s poem, but instead reworks Ovid’s basic story of Venus and Adonis into a far more complicated poem that explores the nature of love and sexual desire from a variety of different perspectives. Shakespeare, interestingly, repositions Venus as the pursuer of Adonis, who is far more interested in hunting than romantic relations. While the poem represents a radical thematic break from Ovid’s original poem, Shakespeare nevertheless adheres quite closely to Ovid’s own poetic style throughout the poem, as well as Ovid’s particular use of setting and general story-structuring. Some critics have argued that Shakespeare’s version of Venus is meant to mock the role of Venus in classical mythology, while others argue that Shakespeare presents Venus and Adonis as being more akin to mother and son than lovers, and that Venus functions as something of a sexually empowered subverter of standard Elizabethan gender and romantic relations.
    [Show full text]
  • Did William Shakespeare and Thomas Kyd Write Edward Iii ?
    International Journal on Natural Language Computing (IJNLC) Vol. 6, No.6, December 2017 DID WILLIAM SHAKESPEARE AND THOMAS KYD WRITE EDWARD III ? David Kernot 1, 2, Terry Bossomaier 3 and Roger Bradbury 1 1 National Security College. The Australian National University, Canberra, ACT, Australia. 2Defence Science &Technology Group, Edinburgh, SA, Australia. 3 The Centre for Research in Complex Systems. Charles Sturt University, Bathurst, NSW, Australia. ABSTRACT William Shakespeare is believed to be a significant author in the anonymous play, The Reign of King Edward III, published in 1596. However, recently, Thomas Kyd, has been suggested as the primary author. Using a neurolinguistics approach to authorship identification we use a four-feature technique, RPAS, to convert the 19 scenes in Edward III into a multi-dimensional vector. Three complementary analytical techniques are applied to cluster the data and reduce single technique bias before an alternate method, seriation, is used to measure the distances between clusters and test the strength of the connections. We find the multivariate techniques robust and able to allocate up to 14 scenes to Thomas Kyd, and further question if scenes long believed to be Shakespeare’s are not his. KEYWORDS Authorship Identification; Personality; Vector Space Method; Seriation 1. INTRODUCTION The Reign of King Edward III (Edward III ) was first published in 1596 and is of uncertain authorship (Slater, 1988). However, it is a new addition to the Shakespeare canon, and even while there is a suggestion that Shakespeare is not the sole author, he is considered to be a significant one (Shakespeare, & Melchiori, 1998) .The idea that the work might be Shakespeare's was first suggested by Edward Capell in 1760 (Champion, 1988).
    [Show full text]
  • The Greek Myth (Hero and Leander - Christopher Marlowe) Christopher Marlowe
    Hero and Leander: The Greek Myth (Hero and Leander - Christopher Marlowe) Christopher Marlowe Click here if your download doesn"t start automatically Hero and Leander: The Greek Myth (Hero and Leander - Christopher Marlowe) Christopher Marlowe Hero and Leander: The Greek Myth (Hero and Leander - Christopher Marlowe) Christopher Marlowe Hero and Leander by Christopher Marlowe. Hero and Leander is a poem by Christopher Marlowe that retells the Greek myth of Hero and Leander. After Marlowe's untimely death it was completed by George Chapman. The minor poet Henry Petowe published an alternative completion to the poem. The poem was first published posthumously, five years after Marlowe's demise. Hero and Leander is the Greek myth relating the story of Hero, a priestess of Aphrodite who dwelt in a tower in Sestos on the European side of the Hellespont (today's Dardanelles), and Leander, a young man from Abydos on the opposite side of the strait. Leander fell in love with Hero and would swim every night across the Hellespont to be with her. Hero would light a lamp at the top of her tower to guide his way. Succumbing to Leander's soft words and to his argument that Venus, as the goddess of love, would scorn the worship of a virgin, Hero allowed him to make love to her. These trysts lasted through the warm summer. But one stormy winter night, the waves tossed Leander in the sea and the breezes blew out Hero's light; Leander lost his way and was drowned. When Hero saw his dead body, she threw herself over the edge of the tower to her death to be with him.
    [Show full text]
  • The Ironic Narrator in Christopher Marlowe's Hero and Leander
    THE IRONIC NARRATOR IN CHRISTOPHER MARLOWE’S HERO AND LEANDER by KYLIE LEMON A THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in The Department of English to The School of Graduate Studies of The University of Alabama in Huntsville HUNTSVILLE, ALABAMA 2013 i In presenting this thesis in partial fulfillment of the requirements for a master's degree from The University of Alabama in Huntsville, I agree that the Library of this University shall make it freely available for inspection. I further agree that permission for extensive copying for scholarly purposes may be granted by my advisor or, in his/her absence, by the Chair of the Department or the Dean of the School of Graduate Studies. It is also understood that due recognition shall be given to me and to The University of Alabama in Huntsville in any scholarly use which may be made of any material in this thesis. ii THESIS APPROVAL FORM Submitted by Kylie Lemon in partial fulfillment of the requirements for the degree of Master of Arts in English and accepted on behalf of the Faculty of the School of Graduate Studies by the thesis committee. We, the undersigned members of the Graduate Faculty of The University of Alabama in Huntsville, certify that we have advised and/or supervised the candidate on the work described in this thesis. We further certify that we have reviewed the thesis manuscript and approve it in partial fulfillment of the requirements for the degree of Master of Arts in English. iii ABSTRACT The School of Graduate Studies The University of Alabama in Huntsville Degree: Master of Arts College/Dept: Liberal Arts/English Name of Candidate: Kylie Lemon Title: The Ironic Narrator in Christopher Marlowe’s Hero and Leander In his minor-epic poem Hero and Leander, Christopher Marlowe creates a narrator whose distinctive narrative presence and unique personality make him impossible for the reader to ignore.
    [Show full text]
  • The Interpretation of Marlowe's Hero and Leander Poem in Correlation
    International Journal of Applied Linguistics & English Literature E-ISSN: 2200-3452 & P-ISSN: 2200-3592 www.ijalel.aiac.org.au The Interpretation of Marlowe’s Hero and Leander Poem in Correlation with Elizabethan Era Luh Nyoman Seri Malini*, Effa Chalisah Jawas English Department, Faculty of Arts,Universitas Udayana PO box 80361, Denpasar, Bali, Indonesia Corresponding Author: Luh Nyoman Seri Malini, E-mail: [email protected] ARTICLE INFO ABSTRACT Article history This research aims to discover the relation between the historical background in the Elizabethan Received: November 14, 2017 Era and the poem by Christopher Marlowe entitled Hero and Leander which is written during this Accepted: January 26, 2018 Era (published in 1598) and the characters’ gender orientation which are also influenced by the Published: May 01, 2018 Era. This research uses descriptive-qualitative method since the data is collected by reading then Volume: 7 Issue: 3 it is identified and analyzed by the writers about the characters’ gender orientation of Marlowe’s Advance access: March 2018 Hero and Leander poem. In analyzing the data, for the maindata, the writers usetheprimary data source. As it is a poem that isobserved, the writer uses Hero and Leander poem by Christopher Marlowe, from Renaissance Edition text transcribed by Bear, January 2001, from the 1598 Conflicts of interest: None edition (STC number 17413). In order to present the data that has been collected and analyzed, Funding: None the writer uses thedescriptive technique. It finds that the romantic theme is greatly influenced by the Elizabethan Era and the Roman mythological elements described in the poem.
    [Show full text]
  • 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.
    [Show full text]
  • Verse Parallels Between Oxford and Shakespeare
    Verse Parallels between Oxford and Shakespeare Robert R. Prechter , Jr. n numerous articles, including three for The Oxfordian , E.Y. Elliott and Robert J. Valenza—Professors of American Political Institutions, and Mathe- I matics, respectively, at Claremont McKenna College—have argued that the poetry of Edward de Vere is nothing like that of Shakespeare. Their conclusion is based on computer analyses. In “The Shakespeare Clinic and the Oxfordians” ( The Oxfordian , 2010), the authors singled out for mockery one of Oxford’s poems from A Paradyse of daynty devises (1576). They contrasted the final stanza with a passage in Hamlet , referring to the two sources’ “glaring stylometric mismatches” (2010, 149). They asked and answered: “Is there a stylometric match with each other? Anything but.” (2010, 138.) Elliott and Valenza concluded: “The styles seem to be worlds apart” (2000, 90), and reported that Shakespeare scholars agreed with their posi- tion, as “nine out of ten of the top scorers on our Shakespeare Golden Ear test” (2010, 138) apparently found nothing in common with this poem and the verse of Shakespeare. They also posted May’s stark assertion, “nothing in Oxford’s ca- nonical verse in any way hints at an affinity with the poetry of William Shake- speare.” (2004, 242.) But the collector of the verses in Paradyse , Richard Edwards, died in 1566, suggesting that Oxford probably wrote these poems before age sixteen. Among the most effective counters to Elliott and Valenza is that one hardly expects teen- age poetry to read like mature verse, especially after years of theatrical experience and feedback.
    [Show full text]
  • Editorial Board
    Phasis 10 (II), 2007 Innes Merabishvili (Tbilisi) THE RECEPTION OF THE ARGONAUTS BY LORD BYRON At the age of twenty one Lord Byron started his travels to the east visiting Portugal, Spain, Turkey, Malta and Greece. He never reached Georgia though he had planned that is reflected in his poetic lines of English Bards and Scotch Reviewers: Yet once again, adieu! Ere this the sail That wafts me hence is shivering in the gale; And Afric’s coast and Calpe’s adverse height, And Stamboul’s minarets must greet my sight; Thence shall I stray through beauty’s native clime Where Kaff is clad in rocks, and crown’d with snows sublime. Comments which appear in many publications confirm that under "beauty’s native clime" Byron meant Georgia. When Byron approached the Bosphorus from the Black Sea he dared to climb the Cyanean Symplegades that were supposed to be the fabled ones the Argonauts passed on their way to seek the Golden Fleece. It was the nurse’s dole in the Medea that encouraged him. He wrote about it in a letter to his friend saying: "Had not this sublime passage been in my head, I should never have dreamed of ascending the rocks." When standing on the very summit of those blue rocks he composed a rollicking six-line parody of the nurse’s dole: O How I wish that an embargo Had kept in port the good ship Argo! Who, still unlaunch’d from Grecian docks, Had never pass’d the Azure rocks; But now I fear her trip will be a Damn’d business for my Miss Medea.
    [Show full text]