This re-visioning of the Marlowe canon aims to explain the ambiguous effects that readers have long associated with Marlowe's signature. Marlovian tragedy has been inadequately theorized because Marlowe has too often been set under the giant shadow of Shakespeare. Grande, by contrast, takes Marlowe on his own terms and demonstrates how he achieves his notorious moral ambiguity through the rhetorical technique of dilation or amplification. All of Marlowe's plays end in the conventional tragic way, with death. But each play, as well as Hero and Leander, repeatedly evokes the reader's expectations of a tragic end only to defer them, dilating the moment of pleasure so that the protagonists can dally before the "law" of tragedy.

Featuring essays by major international scholars, this Companion combines analysis of themes crucial to Renaissance tragedy with the interpretation of canonical and frequently taught texts. Part I introduces key topics, such as religion, revenge, and the family, and discusses modern performance traditions on stage and screen. Bridging this section with Part II is a chapter which engages with Shakespeare. It tackles Shakespeare's generic distinctiveness and how our familiarity with Shakespearean tragedy affects our appreciation of the tragedies of his contemporaries. Individual essays in Part II introduce and contribute to important critical conversations about specific tragedies. Topics include The Revenger's Tragedy and the theatrics of original sin, Arden of Faversham and the preternatural, and The Duchess of Malfi and the erotics of literary form. Providing fresh readings of key texts, the Companion is an essential guide for all students of Renaissance tragedy.

These twelve new essays show the variety and versatility of Renaissance tragedy and highlight the issues it explores. Each chapter defines a particular kind of Renaissance tragedy and offers new research on a particularly striking example. Collectively the essays offer a critical overview of Renaissance tragedy as a genre.

Contending that criticism of Marlowe’s plays has been limited by humanist conceptions of tragedy, this book engages with trauma theory, especially psychoanalytic trauma theory, to offer a fresh critical perspective within which to make sense of the tension in Marlowe’s plays between the tragic and the traumatic. The author argues that tragedies are trauma narratives, narratives of wounding; however, in Marlowe’s plays, a traumatic aesthetics disrupts the closure that tragedy seeks to enact. Martin’s fresh reading of Massacre at Paris, which is often dismissed by critics as a bad tragedy, presents the play as deliberately breaking the conventions of the tragic genre in order to enact a traumatic aesthetics that pulls its audience into one of the early modern period’s most notorious collective traumatic events, the massacre of French Huguenots in Paris in 1572. The chapters on Marlowe’s six other plays similarly argue that throughout Marlowe’s drama tragedy is held in tension with-and disrupted by-the aesthetics of trauma.

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.

A survey of modern cinematic and televisual responses to the concept of the golden age.

Marlowe was the first writer to the translate the Amores, and thus the first to make the Ovidian cursus literally his own.

To many of their contemporaries, William Shakespeare, Ben Jonson, and Thomas Middleton were little more than artisanal craftsmen, "stage-wrights" who wrote plays for money, to be performed in common playhouses and in a manner often antithetical to what Jonson himself viewed as the higher calling of poetry. In response to the conflicting pressures of censorship and commercialism, Paul Yachnin contends, players and dramatists alike had promulgated the idea of drama's irrelevance, creating a recreational theater that failed to influence its audience in any purposeful way. In Stage-Wrights Yachnin shows how Shakespeare, Jonson, and Middleton struggled to reclaim not only the importance of their art, but their own social legitimacy as well as through the reshaping of the commercial theater. His bold readings of their works unveil the strategies by which they sought power from their privileged but powerless position on the margins. Adopting a hermeneutical approach, he explores a wide range of historical evidence to describe how English Renaissance drama depicted the world in ways refracted by the interests of the playing companies; throughout, he challenges recent historicist models that have overrated the importance of dramatic productions to society and its institutions of authority. Paul Yachnin offers a new way of understanding dramatic texts in relation to their social history. In showing how the efforts of three playwrights helped shape the area of discourse we now call "the literary," Stage-Wrights represents both a major rereading of the place of theater in Shakespeare's London and an important clarification of the social context of contemporary criticism.

This book constitutes a new direction for feminist studies in English Renaissance drama. While feminist scholars have long celebrated heroic females in comedies, many have overlooked female tragic heroism, reading it instead as evidence of pervasive misogyny on the part of Shakespeare and his contemporaries. Displacing prevailing arguments of "victim feminism," the contributors to this volume engage a wide range of feminist theories, and argue that female protagonists in tragedies - Jocasta, Juliet, Cleopatra, Mariam, Webster's Duchess and White Devil, among others - are heroic in precisely the same ways as their more notorious masculine counterparts.