Shakespeare's Marlowe: The Influence of Christopher Marlowe on Shakespeare's ArtistryRoutledge, 01 ապր, 2016 թ. - 260 էջ Moving 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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... Hero and Leander and Venus and Adonis: Artistic Individuality and the Ideology of Containment 55 4 Edward II, Richard II, the Will to Play, and an Aesthetic of Ambiguity 83 5 “For a Tricksy Word / Defy the Matter”: The Influence of The ...
... Hero and Leander and Venus and Adonis: Artistic Individuality and the Ideology of Containment 55 4 Edward II, Richard II, the Will to Play, and an Aesthetic of Ambiguity 83 5 “For a Tricksy Word / Defy the Matter”: The Influence of The ...
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... Hero and Leander is mentioned twice (I, i, 21–26 and III, i, 117–20).1 But, in spite of the number of times Marlowe has been suggested as a source, in neither allusion is there anything specific enough to connect the references to his Hero ...
... Hero and Leander is mentioned twice (I, i, 21–26 and III, i, 117–20).1 But, in spite of the number of times Marlowe has been suggested as a source, in neither allusion is there anything specific enough to connect the references to his Hero ...
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... Hero and Leander, he reveals a self-referential literary consciousness.12 But, by 1592, well before Marlowe's untimely death in 1593, Shakespeare was also making his mark on the London theatrical world and receiving major critical ...
... Hero and Leander, he reveals a self-referential literary consciousness.12 But, by 1592, well before Marlowe's untimely death in 1593, Shakespeare was also making his mark on the London theatrical world and receiving major critical ...
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... Hero and Leander, and “The Passionate Shepherd to His Love.”72 It seems as likely that he was familiar with Dido, Queen of Carthage, Part l of Tamburlaine, and Edward II, but the proof is less concrete. He may well have viewed The ...
... Hero and Leander, and “The Passionate Shepherd to His Love.”72 It seems as likely that he was familiar with Dido, Queen of Carthage, Part l of Tamburlaine, and Edward II, but the proof is less concrete. He may well have viewed The ...
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... Hero and Leander (I.176)74 the well-known phrase, “Who ever loved that loved not at first sight.” She is, as usual, comic in her affected literariness. In context, the sentiment does little to advance characterization or plot. It does ...
... Hero and Leander (I.176)74 the well-known phrase, “Who ever loved that loved not at first sight.” She is, as usual, comic in her affected literariness. In context, the sentiment does little to advance characterization or plot. It does ...
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1 | |
Influence and Characterization in The Massacre At Paris Titus Andronicus and Richard III | 31 |
Artistic Individuality and the Ideology of Containment | 55 |
4 Edward II Richard II the Will to Play and an Aesthetic of Ambiguity | 83 |
The Influence of The Jew of Malta on The Merchant of Venice | 117 |
6 Marlowes Tamburlaine Plays Shakespeares Henry V and the Primacy of an Artistic Consciousness | 143 |
Dido Queen of Carthage as a Precursor to Antony and Cleopatra | 169 |
Imprints of Doctor Faustus on Macbeth and The Tempest | 197 |
Marlovian Incentives | 231 |
Bibliography | 237 |
Index | 247 |
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actions Adonis Aeneas aesthetic ambiguity Antony Antony and Cleopatra appears artistic asserts audience awareness Barabas become beginning behavior chapter characterization characters clear comic consequences containment context continuing conventional create critics death desire Dido differences discussion Doctor Faustus dramatic early Edward effect elements Elizabethan emotional especially evidence example expression feel figure forces give Henry Hero and Leander human ideal imagination indicate individuality influence interest king language less lines Macbeth magic manliness Marlovian Marlowe Marlowe and Shakespeare Marlowe’s means Merchant moral Moreover nature notion passage perspective play playwright poem political portray possible present Press protagonists psychological question response reveals Richard Richard II role says scene seems seen sense sexual Shakespeare Shylock similar soliloquy specific speech strong style success suggest Tamburlaine tradition understanding University University Press Venus writers York