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Robert Greene, contemporary of Shakespeare and Marlowe and member
of the group of six known as the "University Wits," is the subject
of this essay collection, the first to be dedicated solely to his
work. Although in his short lifetime Greene published some three
dozen prose works, composed at least five plays, and was one of the
period's most recognized-even notorious-literary figures, his place
within the canon of Renaissance writers has been marginal at best.
Writing Robert Greene offers a reappraisal of Greene's career and
of his contribution to Elizabethan culture. Rather than drawing
lines between Greene's work for the pamphlet market and for the
professional theatres, the essays in the volume imagine his writing
on a continuum. Some essays trace the ways in which Greene's poetry
and prose navigate differing cultural economies. Others consider
how the full spectrum of his writing contributes to an emergent
professional discourse about popular print and theatrical culture.
The volume includes an annotated bibliography of recent scholarship
on Greene and three valuable appendices (presenting apocrypha;
edition information; and editions organized by year of
publication).
While Robert Greene was the most prolific and perhaps the most
notorious professional writer in Elizabethan England, he continues
to be best known for his 1592 quip comparing Shakespeare to "an
upstart crow." In his short twelve-year career, Greene wrote dozens
of popular pamphlets in a variety of genres and numerous
professional plays. At his premature death in 1592, he was a
bonafide London celebrity, simultaneously maligned as Grub-Street
profligate and celebrated as literary prodigy. The present volume
constitutes the first collection of Greene's reception both in the
early modern period and in our present era, offering in its poems,
prose passages, essays, and chapters that which is most singular
among what has been written about Greene and his work. It also
includes a complete list of Greene's contemporary reception until
1640. Kirk Melnikoff's wide-ranging and revisionist introduction
organizes this reception generically while at the same time
situating it in the context of recent critical methodologies.
Edward II: A Critical Reader gives students, teachers and scholars
alike an overview of the play's reception both in the theatre and
among artists and critics, from the end of the 16th century to the
beginning of the 21st. The volume also offers a series of new
perspectives on the play by leading experts in the field of early
modern history and culture. Bolstered with a timeline tracking
Marlowe's life and work, an up-to-date bibliography and an
extensive index, this collection is an ideal and definitive guide
to Edward II.
Edward II: A Critical Reader gives students, teachers and scholars
alike an overview of the play's reception both in the theatre and
among artists and critics, from the end of the 16th century to the
beginning of the 21st. The volume also offers a series of new
perspectives on the play by leading experts in the field of early
modern history and culture. Bolstered with a timeline tracking
Marlowe's life and work, an up-to-date bibliography and an
extensive index, this collection is an ideal and definitive guide
to Edward II.
Presenting the first exploration of Christopher Marlowe's complex
place in the canon, this collection reads Marlowe's work against an
extensive backdrop of repertory, publication, transmission, and
reception. Wide-ranging and thoughtful chapters consider Marlowe's
deliberate engagements with the stage and print culture, the agents
and methods involved in the transmission of his work, and his
cultural reception in the light of repertory and print evidence.
With contributions from major international scholars, the volume
considers all of Marlowe's oeuvre, offering illuminating approaches
to his extended animation in theatre and print, from the putative
theatrical debut of Tamburlaine in 1587 to the most current
editions of his work.
Presenting the first exploration of Christopher Marlowe's complex
place in the canon, this collection reads Marlowe's work against an
extensive backdrop of repertory, publication, transmission, and
reception. Wide-ranging and thoughtful chapters consider Marlowe's
deliberate engagements with the stage and print culture, the agents
and methods involved in the transmission of his work, and his
cultural reception in the light of repertory and print evidence.
With contributions from major international scholars, the volume
considers all of Marlowe's oeuvre, offering illuminating approaches
to his extended animation in theatre and print, from the putative
theatrical debut of Tamburlaine in 1587 to the most current
editions of his work.
Elizabethan Publishing and the Makings of Literary Culture explores
the influence of the book trade over English literary culture in
the decades following incorporation of the Stationers' Company in
1557. Through an analysis of the often overlooked contributions of
bookmen like Thomas Hacket, Richard Smith, and Paul Linley, Kirk
Melnikoff tracks the crucial role that bookselling publishers
played in transmitting literary texts into print as well as
energizing and shaping a new sphere of vernacular literary
activity. The volume provides an overview of the full range of
practises that publishers performed, including the acquisition of
copy and titles, compiling, alteration to texts, reissuing, and
specialization. Four case studies together consider links between
translation and the travel narrative; bookselling and authorship;
re-issuing and the Ovidian narrative poem; and specialization and
professional drama. Works considered include Shakespeare's Hamlet,
Thevet's The New Found World, Constable's Diana, and Marlowe's
Dido, Queen of Carthage. This exciting new book provides both a
complement and a counter to recent studies that have turned back to
authors and out to buyers and printing houses as makers of
vernacular literary culture in the second half of the sixteenth
century.
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