A contemporary of William Shakespeare and Ben Jonson, Christopher Marlowe was one of the most influential early modern dramatists, whose life and mysterious death have long been the subject of critical and popular speculation. This collection sets Marlowe's plays and poems in their historical context, exploring his world and his wider cultural influence. Chapters by leading international scholars discuss both his major and lesser-known works. Divided into three sections, 'Marlowe's works', 'Marlowe's world', and 'Marlowe's reception', the book ranges from Marlowe's relationship with his own audience through to adaptations of his plays for modern cinema. Other contexts for Marlowe include history and politics, religion and science. Discussions of Marlowe's critics and Marlowe's appeal today, in performance, literature and biography, show how and why his works continue to resonate; and a comprehensive further reading list provides helpful suggestions for those who want to find out more.

A contemporary of William Shakespeare and Ben Jonson, Christopher Marlowe was one of the most influential early modern dramatists, whose life and mysterious death have long been the subject of critical and popular speculation. This collection sets Marlowe's plays and poems in their historical context, exploring his world and his wider cultural influence. Chapters by leading international scholars discuss both his major and lesser-known works. Divided into three sections, 'Marlowe's works', 'Marlowe's world', and 'Marlowe's reception', the book ranges from Marlowe's relationship with his own audience through to adaptations of his plays for modern cinema. Other contexts for Marlowe include history and politics, religion and science. Discussions of Marlowe's critics and Marlowe's appeal today, in performance, literature and biography, show how and why his works continue to resonate; and a comprehensive further reading list provides helpful suggestions for those who want to find out more.

Focusing upon Marlowe the playwright as opposed to Marlowe the man, the essays in this collection position the dramatist's plays within the dramaturgical, ethical, and sociopolitical matrices of his own era. The volume also examines some of the most heated controversies of the early modern period, such as the anti-theatrical debate, the relations between parents and children, Machiavaelli1s ideology, the legitimacy of sectarian violence, and the discourse of addiction. Some of the chapters also explore Marlowe's polysemous influence on the theater of his time and of later periods, but, most centrally, upon his more famous contemporary poet/playwright, William Shakespeare.

Christopher Marlowe: Poet & Spy is the most thorough and detailed life of Marlowe since John Bakeless's in 1942. It has new material on Marlowe in relation to Canterbury, also on his home life, schooling, and six and a half years at Corpus Christi College, Cambridge, and includes fresh data on his reading, teachers, and early achievements, including a new letter with a new date for the famous 'putative portrait' of Marlowe at Cambridge. The biography uses for the first time the Latin writings of his friend Thomas Watson to illuminate Marlowe's life in London and his career as a spy (that is, as a courier and agent for the Elizabethan Privy Council). There are new accounts of him on the continent, particularly at Flushing or Vlissingen, where he was arrested. The book also more fully explains Marlowe's relations with his chief patron, Thomas Walsingham, than ever before. This is also the first biography to explore in detail Marlowe's relations with fellow playwrights such as Kyd and Shakespeare, and to show how Marlowe's relations with Shakespeare evolved from 1590 to 1593. With closer views of him in relation to the Elizabethan stage than have appeared in any biography, the book examines in detail his aims, mind, and techniques as exhibited in all of his plays, from Dido, the Tamburlaine dramas, and Doctor Faustus through to The Jew of Malta and Edward II. It offers new treatments of his evolving versions of 'The Passionate Shepherd', and displays circumstances, influences, and the bearings of Shakespeare's 'Venus and Adonis' in relation to Marlowe's 'Hero and Leander'. Throughout, there is a strong emphasis on Marlowe's friendships and so-called 'homosexuality'. Fresh information is brought to bear on his seductive use of blasphemy, his street fights, his methods of preparing himself for writing, and his atheism and religious interests. The book also explores his attraction to scientists and mathematicians such as Thomas Harriot and others in the Ralegh-Northumberland set of thinkers and experimenters. Finally, there is new data on spies and business agents such as Robert Poley, Nicholas Skeres, and Ingram Frizer, and a more exact account of the circumstances that led up to Marlowe's murder.

Presenting the first exploration of Christopher Marlowe's complex place in the canon, this collection reads Marlowe's work against an extensive backdrop of repertory, publication, transmission, and reception. Wide-ranging and thoughtful chapters consider Marlowe's deliberate engagements with the stage and print culture, the agents and methods involved in the transmission of his work, and his cultural reception in the light of repertory and print evidence. With contributions from major international scholars, the volume considers all of Marlowe's oeuvre, offering illuminating approaches to his extended animation in theatre and print, from the putative theatrical debut of Tamburlaine in 1587 to the most current editions of his work.

Dr. Faustus is a great Elizabethan tragedy by Christopher Marlow originally published in 1600. The story is based on an earlier anonymous classic German legend involving worldly ambition, black magic and surrender to the devil. It remains one of the most famous plays of the English Renaissance. Dr. John Faustus, a brilliant, well-respected German doctor grows dissatisfied with the limits of human knowledge - logic, medicine, law, and religion, and decides that he has learned all that can be learned by conventional means. What is left for him, he thinks, but magic. His friends instruct him in the black arts, and he begins his new career as a magician by summoning up Mephastophilis, a devil. Despite Mephastophilis’s warnings about the horrors of hell, Faustus tells the devil to return to his master, Lucifer, with an offer of Faustus’s soul in exchange for twenty-four years of service from Mephastophilis. On the final night before the expiration of the twenty-four years, Faustus is overcome by fear and remorse. He begs for mercy, but it is too late. At midnight, a host of devils appears and carries his soul off to hell. Marlowe’s dramatic interpretation of the Faust legend is a theatrical masterpiece. With immense poetic skill, and psychological insight that greatly influenced the works of William Shakespeare and other dramatists, Dr. Faustus combines soaring poetry, psychological depth, and grand stage spectacle. Marlowe created powerful scenes that invest the work with tragic dignity, among them the doomed man’s calling upon Christ to save him and his ultimate rejection of salvation for the embrace of Helen of Troy.

The Cambridge Companion to Christopher Marlowe provides a full introduction to one of the great pioneers of both the Elizabethan stage and modern English poetry. It recalls that Marlowe was an inventor of the English history play (Edward II) and of Ovidian narrative verse (Hero and Leander), as well as being author of such masterpieces of tragedy and lyric as Doctor Faustus and 'The Passionate Shepherd to His Love'. Sixteen leading scholars provide accessible and authoritative chapters on Marlowe's life, texts, style, politics, religion, and classicism. The volume also considers his literary and patronage relationships and his representations of sexuality and gender and of geography and identity; his presence in modern film and theatre; and finally his influence on subsequent writers. The Companion includes a chronology of Marlowe's life, a note on reference works, and a reading list for each chapter.

There has never been a retrospective on Christopher Marlowe as comprehensive, complete and up-to-date in appraising the Marlovian landscape. Each chapter has been written by an eminent, international Marlovian scholar to determine what has been covered, what has not, and what scholarship and criticism will or might focus on next. The volume considers all of Marlowe’s dramas and his poetry, including his translations, as well as the following special topics: Critical Approaches to Marlowe; Marlowe’s Works in Performance; Marlowe and Theatre History; Electronic Resources for Marlovian Research; and Marlowe’s Biography. Included in the discussions are the native, continental, and classical influences on Marlowe and the ways in which Marlowe has interacted with other contemporary writers, including his influence on those who came after him. The volume has appeal not only to students and scholars of Marlowe but to anyone interested in Renaissance drama and poetry. Moreover, the significance for readers lies in the contributors’ approaches as well as in their content. Interest in the biography of Christopher Marlowe and in his works has bourgeoned since the turn of the century. It therefore seems especially appropriate at this time to present a comprehensive assessment of past and present traditional and innovative lines of inquiry and to look forward to future developments.

The Tragical History of the Life and Death of Doctor Faustus, commonly referred to simply as Doctor Faustus, is an Elizabethan tragedy by Christopher Marlowe, based on German stories about the title character Faust, that was first performed sometime between 1588 and Marlowe's death in 1593. Two different versions of the play were published in the Jacobean era, several years later.The powerful effect of early productions of the play is indicated by the legends that quickly accrued around them-that actual devils once appeared on the stage during a performance, "to the great amazement of both the actors and spectators", a sight that was said to have driven some spectators mad.