Christopher Marlowe

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Noun1.Christopher Marlowe - English poet and playwright who introduced blank verse as a form of dramatic expressionChristopher Marlowe - English poet and playwright who introduced blank verse as a form of dramatic expression; was stabbed to death in a tavern brawl (1564-1593)
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References in periodicals archive ?
Segarra and his colleagues, having found that Shakespeare is largely responsible for 1 Henry VI with Marlowe the next most likely of the profiled dramatists, compared individual scenes on a binaristic basis to determine possible Marlovian or Shakespearean provenance.
His repetition of the Marlovian "was this the face" drives home the distinction between past and present as well as inside and outside.
the Marlovian and Shakespearean canons, as Jonson's critical
Dead, for a ducat, dead!" Yet the grandiosely theatrical ending is perhaps more Marlovian than Shakespearean, akin to what Barabas had planned in The Jew of Malta.
My intention in the remainder of this essay is to examine the place of a select group of Marlovian plays--The Jew of Malta, Doctor Faustus and Tamburlaine--in the theatrical culture of the Caroline period, and their somewhat paradoxical status as works which exemplified an older tradition but nonetheless continued to have life and vitality in performance.
In a passage that sounds remarkably Marlovian ("'Remember, this is a love story I am telling you now'" [Lord Jim 177]), Eliot's narrator says, "I am telling the history of very simple people who never had any illuminating doubts as to personal integrity and honour" (Mill 294).
As Loewenstein argues with his customary panache, In this theatrical resurrection of a neoclassical poetry snatched from fire, Jonson has put the Marlovian book on stage" (111).
Lindley is interested in distinguishing between actual social carnival and the carnivalesque as a deconstructive, demystifying form of literary representation: his chosen subjects are the Wife of Bath's Prologue and Tale, Sir Gawain and the Green Knight, Antony and Cleopatra, Hamlet and revenge tragedy, and the Marlovian hero.
The chapter on Marlowe begins with the claim that the playwright's interest in moral drama has not been "adequately considered" as yet and that this discussion will demonstrate how "Marlovian poets merely intensified the heuristic function of moral drama" (101).
(5) But his sinister pun on Marlowe's mighty saw, the afflatus he elsewhere jokes is used by the ham actor to "saw the air" (Hamlet, 3.2.4), suggests how he came to take seriously the Marlovian hyperbole that mighty "words are swords" (1 Tam, 1.1.74), and to appreciate that the poet who had reportedly been stabbed through the eye with his own blade had cut to the quick with what he said or "saw": "Dead shepherd, now I find thy saw of might: / 'Whoever loved that loved not at first sight?'" (As You Like It, 3.5.81-82).
They are conceivably Marlovian,(1) The presence of Tempest, Macbeth, and Antony and Cleopatra on the left side of the Shakespeare `cloud' testifies to the fact that the distribution does not merely reflect chronological sequence of composition.
In this regard, I find Patrick Cheney's work on Shakespearean authorship particularly useful, since he's not as keen to establish facts about publication dates as he is to examine how Shakespeare's texts themselves meditate on different models of authorship: Ovidian conceptions bleeding into Marlovian, Virgilian into Spenserian.