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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Արդյունքներ 58–ի 1-ից 5-ը:
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... moreover, no evidence exists to ascertain that the play was written after the poem. A second example of this same supposed source appears in As You Like It. Attempting to ground Orlando's love in commonsense realism, Rosalind pooh-poohs ...
... moreover, no evidence exists to ascertain that the play was written after the poem. A second example of this same supposed source appears in As You Like It. Attempting to ground Orlando's love in commonsense realism, Rosalind pooh-poohs ...
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... Moreover, although no evidence exists to establish the fact, it is conceivable that Shakespeare acted in The Jew of Malta at the Rose in 1592–93 or at the theater in Newington Butts in 1594. During Marlowe's lifetime, the popularity of ...
... Moreover, although no evidence exists to establish the fact, it is conceivable that Shakespeare acted in The Jew of Malta at the Rose in 1592–93 or at the theater in Newington Butts in 1594. During Marlowe's lifetime, the popularity of ...
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... Moreover, the conclusion drawn by Bate suffers from overstatement, just as all too often the evidence he adduces and interprets fails to persuade because, in his exuberance, he presses too hard. The arguments of Bate and Bloom lead to ...
... Moreover, the conclusion drawn by Bate suffers from overstatement, just as all too often the evidence he adduces and interprets fails to persuade because, in his exuberance, he presses too hard. The arguments of Bate and Bloom lead to ...
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... Moreover, they suggest that, through his practice of imitating and adapting Marlowe's plays, Shakespeare acquired a knowledge of Marlowe's artistry that became ingrained. Although McMillin and MacLean speak speculatively about what ...
... Moreover, they suggest that, through his practice of imitating and adapting Marlowe's plays, Shakespeare acquired a knowledge of Marlowe's artistry that became ingrained. Although McMillin and MacLean speak speculatively about what ...
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... Moreover, he understands that “the sources themselves can be reexamined as products of intertextuality,” that they are “dynamic and often inconsistent texts involving layers of implicit and subtextual suggestions.”48 Lynch is trying, as ...
... Moreover, he understands that “the sources themselves can be reexamined as products of intertextuality,” that they are “dynamic and often inconsistent texts involving layers of implicit and subtextual suggestions.”48 Lynch is trying, as ...
Բովանդակություն
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