Shakespeare's Marlowe: The Influence of Christopher Marlowe on Shakespeare's ArtistryMoving beyond traditional studies of sources and influence, Shakespeare's Marlowe analyzes the uncommonly powerful aesthetic bond between Christopher Marlowe and William Shakespeare. Not only does this study take into account recent ideas about intertextuality, but it also shows how the process of tracking Marlowe's influence itself prompts questions and reflections that illuminate the dramatists' connections. Further, after questioning the commonly held view of Marlowe and Shakespeare as rivals, the individual chapters suggest new possible interrelationships in the formation of Shakespeare's works. Such examination of Shakespeare's Marlovian inheritance enhances our understanding of the dramaturgical strategies of each writer and illuminates the importance of such strategies as shaping forces on their works. Robert Logan here makes plain how Shakespeare incorporated into his own work the dramaturgical and literary devices that resulted in Marlowe's artistic and commercial success. Logan shows how Shakespeare's examination of the mechanics of his fellow dramatist's artistry led him to absorb and develop three especially powerful influences: Marlowe's remarkable verbal dexterity, his imaginative flexibility in reconfiguring standard notions of dramatic genres, and his astute use of ambivalence and ambiguity. This study therefore argues that Marlowe and Shakespeare regarded one another not chiefly as writers with great themes, but as practicing dramatists and poets-which is where, Logan contends, the influence begins and ends. |
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... passage overtly belittles Marlowe's propensity for dramatic excess, it also pays tribute to his success. Is it of personal and also of cultural significance that the passage directs us to the figure of Tamburlaine and that it parodies ...
... passage overtly belittles Marlowe's propensity for dramatic excess, it also pays tribute to his success. Is it of personal and also of cultural significance that the passage directs us to the figure of Tamburlaine and that it parodies ...
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... passages. Antony and Cleopatra is an example; the norm of hyperbole there reminds us of Marlowe's use of hyperbole in Dido, Queen of Carthage, the Tamburlaine plays, and Hero and Leander. Such variations in influence point to ...
... passages. Antony and Cleopatra is an example; the norm of hyperbole there reminds us of Marlowe's use of hyperbole in Dido, Queen of Carthage, the Tamburlaine plays, and Hero and Leander. Such variations in influence point to ...
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... passages are finally interesting less because they are catalogues that may be linked than because their significant differences help us to characterize the distinctness of the imaginations of the two playwrights. Finally, still at the ...
... passages are finally interesting less because they are catalogues that may be linked than because their significant differences help us to characterize the distinctness of the imaginations of the two playwrights. Finally, still at the ...
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... passage. But it may indicate something about the closeness and even the cooperation of the two writers and their routine in the workplace during the period from 1590–93. The word “influence” carries with it a suggestion that Shakespeare ...
... passage. But it may indicate something about the closeness and even the cooperation of the two writers and their routine in the workplace during the period from 1590–93. The word “influence” carries with it a suggestion that Shakespeare ...
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Contents
Influence and Characterization in | |
Artistic Individuality | |
Edward II Richard II the Will to Play and an Aesthetic | |
The Influence of | |
Marlowes Tamburlaine Plays Shakespeares Henry V and | |
Dido Queen of Carthage as a Precursor | |
Imprints of Doctor Faustus on Macbeth | |
Marlovian Incentives | |
Index | |
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Aaron Aeneas aesthetic ambiguity Antony and Cleopatra Antony’s artistic asserts audience audience’s awareness Barabas Barabas’s behavior BText Caesar characterization characters Charney Christopher Marlowe comic conflict context conventional critics death desire Dido Dido’s differences discussion Doctor Faustus dramatic dramatists dramaturgical Edward Edward II Elizabethan emotional epyllion example Faustus’s feel figure forces Gaveston gender genre Greenblatt Guise Henry Hero and Leander heroic Ibid ideal imagination influence on Shakespeare irony Jew of Malta Jonson king language less literary Macbeth magic magician manliness Marlovian Marlowe and Shakespeare Marlowe’s influence Marlowe’s play Massacre At Paris Merchant of Venice moral Moreover notion one’s parody passage perspective poem political portray portrayal Prospero protagonists psychological Queen of Carthage Renaissance response Richard Richard II roles scene seems self sense sexual Shapiro Shylock similar soliloquy spectacle speech style suggest Tamburlaine plays theater theatrical Titus Andronicus tradition understanding University Press Venus and Adonis Venus’s wellknown words writers