By M.L. Stapleton
Contributions to this quantity discover the assumption of Marlowe as a operating artist, in accordance with John Addington Symonds' characterization of him as a "sculptor-poet." through the physique of his work-including not just the poems and performs, but additionally his forays into translation and imitation-a wonderful corporation of validated and rising literary students lines how Marlowe conceives an concept, shapes and refines it, then remakes and remodels it, in simple terms to refashion it additional in his writing method. those essays inevitably overlap with each other within the different types of lives, degree, and web page, which indications their interdependent nature relating to questions of authorship, theater and function historical past, in addition to interpretive concerns in the works themselves. The members interpret and examine the disputed evidence of Marlowe's existence, the textual problems that emerge from the staging of his performs, the severe 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 lifestyles and paintings. It displays the flourishing kingdom of Marlowe experiences because it shapes the twenty-first century belief of the poet and playwright as grasp craftsman.
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Additional resources for Christopher Marlowe the Craftsman: Lives, Stage, and Page
The scant facts of the life have been reinterpreted in recent scholarly biographies: William Urry’s Christopher Marlowe and Canterbury (1988); Matthew Proser’s The Gift of Fire (1995); Lisa Hopkins’s traditional approach of locating the life in the works, Christopher Marlowe: A Literary Life (2000); Constance Kuriyama’s complementary return to primary documents, Christopher Marlowe: A Renaissance Life (2002). S. 3 The resurgence of interest in theater history and performance studies has informed a number of scholarly contributions, including Simon Shepherd’s study in cultural materialism, Marlowe and the Politics of Elizabethan Theatre (1988) and Douglas Cole’s Christopher Marlowe and the Renaissance of Tragedy (1995).
17 The Marlowe Society of America featured several papers on this subject at a 2007 Modern Language Association session and at the 2008 International MSA Conference. The connection with Shakespeare’s work has long been a source of abiding curiosity, but, as these conferences handily demonstrated, this interest is beginning to burgeon and expand. Finally, one notices a stronger, more prevalent reluctance on the part of critics to affirm the validity of an approach that is exclusive or, much less, reductive.
Finally, one notices a stronger, more prevalent reluctance on the part of critics to affirm the validity of an approach that is exclusive or, much less, reductive. Concomitantly, there is a healthy fearlessness in the face of complexity; and, as always, diversity predominates. 18 From these two sources, but also keeping in mind the spectrum of publications since the turn of the century, one can draw at least six conclusions. First, the aforementioned tendencies are continuing to hold sway—that is, the concomitant interest in innovative and traditional approaches and the focus on Doctor Faustus and on Marlowe’s biography.
Christopher Marlowe the Craftsman: Lives, Stage, and Page by M.L. Stapleton