Cheney greatly extends our understanding of Marlowe's poetic rivalry by broadening the analysis to include the entire Marlovian
Noting the widespread concerns in the 1580s over "the discordance of society and desire for a move towards unity" (3), Duxfield argues that Marlovian
drama explores such anxieties but does so in tension with his more typically noted emphasis on expansion, renegotiating and undercutting any attempt at reduction via the sheer ambiguity of the plays (1).
The spirit rapper remains, however, a hero of romantic derivation: Shelleyan (Frankenstein), Byronian (Manfred), and even Marlovian
(Fausus): his lack of fear in front of death, but his fear and doubt in front of what might happen after death.
Phaethon" has been seen as a tragedy in a Marlovian
tradition of violence, aspiration, and destruction, and that perception remains partially valid.
12) Though Bevington many years ago in his From Mankind to Marlowe pointed out the complex, experimental, hybrid, and prolix nature of theatrical writing in the 1560s and '70s, it still seems to be commonplace, particularly for scholars working on the drama of the 1590s and onwards, to assume that 1580s generic practice devolved into Lylian comedy on the one hand and Marlovian
tragedy on the other.
Critics who subscribe to this Marlovian
conspiracy theory conduct 'literary homicide' investigations into the question of Shakespeare's authorship and Marlowe's supposed staged death.
Their topics include the ethics of work, intertextualities, Chance and Woolf's The Voyage Out, representations of readers and reading, from incapable "angel in the house" to invincible "new woman" in Marlovian
narratives: representing womanhood in "Heart of Darkness" and Chance, the narrative problem of Marlow, and Conrad's portrait of a feminist.
But these outbursts seem tame when compared with Jerobel's Marlovian
Alongside an extended allusion to The Matrix (Wachowski and Wachowski, 1999), as a system both enabling and oppressive, the book is structured by Shakespearean and Marlovian
4), suggests how he came to take seriously the Marlovian
hyperbole that mighty "words are swords" (1 Tam, 1.
In "Framing Religion: Marlovian
Policy and the Pluralism of Art," Noam Reisner works from Richard Baines' claim that Marlowe allegedly professed that "if he were put to write a new religion, he would undertake both a more excellent and admirable method" to argue that "[i]n England in the late 1580s the line between a cynic who might note that state religion is a matter of policy designed 'only to keep men in awe' and a devout Protestant who insists on reforming the old faith as a matter of policy was a very fine one.
Such a separation is evident outside the cycle of Marlovian
tales, in the dyad of Razumov and the English teacher, the separation of the main narrative in The Arrow of Gold from the framing notes, and elsewhere.