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The well- travelled tyrant and some of his unchecked baggage
Richard Hillman

military narrative, the biblical encounter between the Jewish heroine Judith and the Assyrian general Holofernes, hovers in the background of Marlowe’s Tamburlaine plays. The basic story was available in all the major versions of the Bible, even if designated as apocryphal in Protestant ones. But I believe that Marlowe’s sustained allusion particularly depends on the dynamic, richly

in A knight’s legacy
Steve Sohmer

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

in Reading Shakespeare’s mind
Agnès Lafont

Respectively drawing on Ovid or Virgil, pro- and anti-women authors have defended and attacked Dido in turn. Viewed in this context, Christopher Marlowe’s The Tragedy of Dido, Queen of Carthage , which was first performed around 1585 and published in 1594, plays out the debate on the stage, in a generic shift that is marked by a mock-serious engagement with this staple of Latin culture. 3 An early work

in Interweaving myths in Shakespeare and his contemporaries
Matthew Hunt, Sharon O’Brien, Patrick Cadwell, and Dónal P. O’Mathúna

. , Marlowe , J. and Gerber , B. ( 2018 ), ‘ Language Translation during Disaster: A Comparative Analysis of Five National Approaches ’, International Journal of Disaster Risk Reduction , 31 , 627 – 36 . O’Mathúna , D. P. ( 2018 ), ‘ Humanitarian Ethics: From

Journal of Humanitarian Affairs
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Classical and Renaissance intertextuality
Author: Syrithe Pugh

For educated poets and readers in the Renaissance, classical literature was as familiar and accessible as the work of their compatriots and contemporaries – often more so. Their creative response to it was not a matter of dry scholarship or inert imitation, but rather of engagement in an ancient and lively conversation which was still unfolding, both in the modern languages and in new Latin verse. This volume seeks to recapture that sense of intimacy and immediacy, as scholars from both sides of the modern disciplinary divide come together to eavesdrop on the conversations conducted through allusion and intertextual play in works from Petrarch to Milton and beyond, and offer their perspectives on the intermingling of ancient and modern strains in the reception of the classical past and its poetry. The essays include illuminating discussions of Ariosto, Du Bellay, Spenser, Marlowe, the anonymous drama Caesars Revenge, Shakespeare and Marvell, and look forward to the grand retrospect of Shelley’s ‘Adonais’. Together, they help us to understand how poets across the ages have thought about their relation to their predecessors, and about their own contributions to what Shelley would call ‘that great poem, which all poets… have built up since the beginning of the world’.

Author: Richard Hillman

This book applies to tragic patterns and practices in early modern England a long-standing critical preoccupation with English-French cultural connections in the period. With primary, though not exclusive, reference on the English side to Shakespeare and Marlowe, and on the French side to a wide range of dramatic and non-dramatic material, it focuses on distinctive elements that emerge within the English tragedy of the 1590s and early 1600s. These include the self-destructive tragic hero, the apparatus of neo-Senecanism (including the Machiavellian villain) and the confrontation between the warrior-hero and the femme fatale. The broad objective is less to ‘discover’ influences—although some specific points of contact are proposed—than at once to enlarge and refine a common cultural space through juxtaposition and intertextual tracing. The conclusion emerges that the powerful, if ambivalent, fascination of the English for their closest Continental neighbours expressed itself not only in, but through, the theatre.

Allusion, anti-pastoral, and four centuries of pastoral invitations
Hannibal Hamlin

5 Replying to Raleigh’s ‘The Nymph’s Reply’: Allusion, anti-pastoral, and four centuries of pastoral invitations Hannibal Hamlin In 1653 Christopher Marlowe’s ‘Passionate Shepherd to his Love’ and Sir Walter Raleigh’s ‘Nymph’s Reply to the Shepherd’ were printed, certainly not for the first time, but in what have become their standard versions – six stanzas of four lines in iambic tetrametre couplets – in Izaak Walton’s The Compleat Angler.1 This was the first time ‘The Nymph’s Reply’ was attributed to Raleigh, an attribution which has been generally accepted

in Literary and visual Ralegh
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Spenser, Marlowe, Shakespeare: Methodological Investigations
J. B. Lethbridge

Spenser that others had read before him, principally, or so it seems, by Marlowe. Shakespeare the poet-playwright 6 was ten years younger than the poet of pastorals, epic romance and sonnets. Ten years is not a long time, and after four hundred years it may seem that the two poets are contemporaries. But not all decades are equal and the relevant decade is not that between Spenser’s birth and Shakespeare

in Shakespeare and Spenser
Rowland Wymer

Jarman nearly died in the spring of 1990 when AIDS-related infections attacked his liver, lungs, stomach, and eyes. This close encounter with death left him determined to achieve as much as possible artistically in the short time left to him and one of his major goals was to make a film of Christopher Marlowe’s Elizabethan play Edward II . Since the late 1980s, as he had become angrier and angrier

in Derek Jarman
A Midsummer Night’s Dream and the iconography of marriage
Annaliese Connolly

retrospection employed by Shakespeare in Dream in order to critique Elizabeth and her iconography of virginity. The first example of this is the relationship between Dream and Marlowe’s Dido , Queen of Carthage . Here Shakespeare deliberately alludes to Marlowe’s play in order to establish a number of visual and thematic parallels between Dido and Titania and to align himself with

in Goddesses and Queens