The first book of its kind, Marlowe's Ovid explores and analyzes in depth the relationship between the Elegies-Marlowe's translation of Ovid's Amores-and Marlowe's own dramatic and poetic works. Stapleton carefully considers Marlowe's Elegies in the context of his seven known dramatic works and his epyllion, Hero and Leander, and offers a different way to read Marlowe. Stapleton employs Marlowe's rendition of the Amores as a way to read his seven dramatic productions and his narrative poetry while engaging with previous scholarship devoted to the accuracy of the translation and to bibliographical issues. The author focuses on four main principles: the intertextual relationship of the Elegies to the rest of the author's canon; its reflection of the influence of Erasmian humanist pedagogy, imitatio and aemulatio; its status as the standard English Amores until the Glorious Revolution, part of the larger phenomenon of pan-European Renaissance Ovidianism; its participation in the genre of the sonnet sequence. He explores how translating the Amores into the Elegies profited Marlowe as a writer, a kind of literary archaeology that explains why he may have commenced such an undertaking. Marlowe's Ovid adds to the body of scholarly work in a number of subfields, including classical influences in English literature, translation, sexuality in literature, early modern poetry and drama, and Marlowe and his milieu.

The first book of its kind, Marlowe's Ovid explores and analyzes in depth the relationship between the Elegies-Marlowe's translation of Ovid's Amores-and Marlowe's own dramatic and poetic works. Stapleton carefully considers Marlowe's Elegies in the context of his seven known dramatic works and his epyllion, Hero and Leander, and offers a different way to read Marlowe. Stapleton employs Marlowe's rendition of the Amores as a way to read his seven dramatic productions and his narrative poetry while engaging with previous scholarship devoted to the accuracy of the translation and to bibliographical issues. The author focuses on four main principles: the intertextual relationship of the Elegies to the rest of the author's canon; its reflection of the influence of Erasmian humanist pedagogy, imitatio and aemulatio; its status as the standard English Amores until the Glorious Revolution, part of the larger phenomenon of pan-European Renaissance Ovidianism; its participation in the genre of the sonnet sequence. He explores how translating the Amores into the Elegies profited Marlowe as a writer, a kind of literary archaeology that explains why he may have commenced such an undertaking. Marlowe's Ovid adds to the body of scholarly work in a number of subfields, including classical influences in English literature, translation, sexuality in literature, early modern poetry and drama, and Marlowe and his milieu.

Near the end of his life, Auguste Rodin (1840-1917) began creating astonishingly an improvisatory and free life drawings. First published in a very limited edition in 1939, 31 of these drawings are paired here with selected Love Elegies from Ovid, one of Rodin's favorite authors. With Christopher Marlowe's glittering translation highlighting Ovid's work, Rodin's stunning art seems alive on the page in this unique volume.

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

The essential lyric works of the great Elizabethan playwright--newly revised and updated Though best known for his plays--and for courting danger as a homosexual, a spy, and an outspoken atheist--Christopher Marlowe was also an accomplished and celebrated poet. This long-awaited updated and revised edition of his poems and translations contains his complete lyric works--from his translations of Ovidian elegies to his most famous poem, "The Passionate Shepherd to His Love," to the impressive epic mythological poem "Hero and Leander." For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

This book explores how Ovid, as the poet-philosopher of the liberty of speech, galvanized poetic innovation in English Renaissance poetry.

The definitive biography: a masterly account of Marlowe's work and life and the world in which he lived Shakespeare's contemporary, Christopher Marlowe revolutionized English drama and poetry, transforming the Elizabethan stage into a place of astonishing creativity. The outline of Marlowe's life, work, and violent death are known, but few of the details that explain why his writing and ideas made him such a provocateur in the Elizabethan era have been available until now. In this absorbing consideration of Marlowe and his times, David Riggs presents Marlowe as the language's first poetic dramatist whose desires proved his undoing. In an age of tremendous cultural change in Europe when Cervantes wrote the first novel and Copernicus demonstrated a world subservient to other nonreligious forces, Catholics and Protestants battled for control of England and Elizabeth's crown was anything but secure. Into this whirlwind of change stepped Marlowe espousing sexual freedom and atheism. His beliefs proved too dangerous to those in power and he was condemned as a spy and later murdered. In The World of Christopher Marlowe, Riggs's exhaustive research digs deeply into the mystery of how and why Marlowe was killed.

A remarkable resurgence of interest has taken place over recent years in a biographical approach to the work of early modern poets and dramatists, in particular to the plays and poems of Shakespeare, Marlowe and Jonson. The contributors to this volume approach the topic in a manner that is at once critically and historically alert. They acknowledge that the biographical evidence for all three authors is limited, thus throwing the emphasis acutely on interpretation. In addition to new scholarship, the essays are valuable for their awareness of the challenges posed by recent redirections of critical methodology. Scepticism and self-criticism are marked features of the writing gathered here.