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The first book of its kind, Marlowe's Ovid explores and analyzes in
depth the relationship between the Elegies-Marlowe's translation of
Ovid's Amores-and Marlowe's own dramatic and poetic works.
Stapleton carefully considers Marlowe's Elegies in the context of
his seven known dramatic works and his epyllion, Hero and Leander,
and offers a different way to read Marlowe. Stapleton employs
Marlowe's rendition of the Amores as a way to read his seven
dramatic productions and his narrative poetry while engaging with
previous scholarship devoted to the accuracy of the translation and
to bibliographical issues. The author focuses on four main
principles: the intertextual relationship of the Elegies to the
rest of the author's canon; its reflection of the influence of
Erasmian humanist pedagogy, imitatio and aemulatio; its status as
the standard English Amores until the Glorious Revolution, part of
the larger phenomenon of pan-European Renaissance Ovidianism; its
participation in the genre of the sonnet sequence. He explores how
translating the Amores into the Elegies profited Marlowe as a
writer, a kind of literary archaeology that explains why he may
have commenced such an undertaking. Marlowe's Ovid adds to the body
of scholarly work in a number of subfields, including classical
influences in English literature, translation, sexuality in
literature, early modern poetry and drama, and Marlowe and his
milieu.
Contributions to this volume explore the idea of Marlowe as a
working artist, in keeping with John Addington Symonds'
characterization of him as a "sculptor-poet." Throughout the body
of his work-including not only the poems and plays, but also his
forays into translation and imitation-a distinguished company of
established and emerging literary scholars traces how Marlowe
conceives an idea, shapes and refines it, then remakes and remodels
it, only to refashion it further in his writing process. These
essays necessarily overlap with one another in the categories of
lives, stage, and page, which signals their interdependent nature
regarding questions of authorship, theater and performance history,
as well as interpretive issues within the works themselves. The
contributors interpret and analyze the disputed facts of Marlowe's
life, the textual difficulties that emerge from the staging of his
plays, the critical investigations arising from analyses of
individual works, and their relationship to those of his
contemporaries. The collection engages in new ways the
controversies and complexities of its subject's life and art. It
reflects the flourishing state of Marlowe studies as it shapes the
twenty-first century conception of the poet and playwright as
master craftsman.
The first book of its kind, Marlowe's Ovid explores and analyzes in
depth the relationship between the Elegies-Marlowe's translation of
Ovid's Amores-and Marlowe's own dramatic and poetic works.
Stapleton carefully considers Marlowe's Elegies in the context of
his seven known dramatic works and his epyllion, Hero and Leander,
and offers a different way to read Marlowe. Stapleton employs
Marlowe's rendition of the Amores as a way to read his seven
dramatic productions and his narrative poetry while engaging with
previous scholarship devoted to the accuracy of the translation and
to bibliographical issues. The author focuses on four main
principles: the intertextual relationship of the Elegies to the
rest of the author's canon; its reflection of the influence of
Erasmian humanist pedagogy, imitatio and aemulatio; its status as
the standard English Amores until the Glorious Revolution, part of
the larger phenomenon of pan-European Renaissance Ovidianism; its
participation in the genre of the sonnet sequence. He explores how
translating the Amores into the Elegies profited Marlowe as a
writer, a kind of literary archaeology that explains why he may
have commenced such an undertaking. Marlowe's Ovid adds to the body
of scholarly work in a number of subfields, including classical
influences in English literature, translation, sexuality in
literature, early modern poetry and drama, and Marlowe and his
milieu.
Contributions to this volume explore the idea of Marlowe as a
working artist, in keeping with John Addington Symonds'
characterization of him as a "sculptor-poet." Throughout the body
of his work-including not only the poems and plays, but also his
forays into translation and imitation-a distinguished company of
established and emerging literary scholars traces how Marlowe
conceives an idea, shapes and refines it, then remakes and remodels
it, only to refashion it further in his writing process. These
essays necessarily overlap with one another in the categories of
lives, stage, and page, which signals their interdependent nature
regarding questions of authorship, theater and performance history,
as well as interpretive issues within the works themselves. The
contributors interpret and analyze the disputed facts of Marlowe's
life, the textual difficulties that emerge from the staging of his
plays, the critical investigations arising from analyses of
individual works, and their relationship to those of his
contemporaries. The collection engages in new ways the
controversies and complexities of its subject's life and art. It
reflects the flourishing state of Marlowe studies as it shapes the
twenty-first century conception of the poet and playwright as
master craftsman.
No history of the longstanding critical tradition of exploring the
Spenser-Ovid relationship has been written. In this book Professor
Stapleton constructs such a critical history: the annotations of E.
K. in The Shepheardes Calender (1579), the Enlightenment editions
of The Faerie Queene, the philological mode of the Spenser Variorum
(1932-57), and the recent, innovative work of Harry Berger and
Colin Burrow. Aside from occasional articles, no truly
comprehensive analysis of their kinship as love poets exists,
either. The author explores Spenser's emulation of Ovid's amatory
poetics. His humanist education trained him to find or construct
analogues and etiological patterns in classical texts. Therefore,
his early study of translation, intensive reading, and "versifying"
as an interrelated process guaranteed a densely allusive,
metamorphic Ovidian poetics as a natural result. The author's
predecessors focus almost exclusively on the Metamorphoses as
intertext, but do not often distinguish between early modern Latin
editions of the poem and translations such as Arthur Golding's.
Although Spenser read Ovid in his native language, during the
quarter-century of his writing career, his countrymen such as
Shakespeare, Donne, and Lodge imitate and recast the ancient
author. During this English aetas Ovidiana, a translation industry
arises simultaneously so that the entire corpus is rendered into
English, from Golding's Metamorphoses (1567) to Wye Saltonstall's
Ex Ponto (1638). Since the sixteenth century did not often read or
hear a Roman poet in prose renditions, the author uses Renaissance
poetical verse translations (with the Latin text) to explore
Spenser's variegated use of Ovid: how he sounded as early modern
English poetry. The introduction traces a history of the
Spenser-Ovid site then accounts for the importance of imitatio and
moralization to Spenser's developing poetics. The first four
chapters analyze the influence of the Tristia, Heroides, and
Metamorphoses on the 1590 Faerie Queene and The Shepheardes
Calender. The concluding chapters demonstrate the presence of the
Ars amatoria and Amores in Amoretti and Epithalamion and Fowre
Hymnes. Spenser's Ovidian Poetics is intended to complement works
such as Leonard Barkan's The Gods Made Flesh, Jonathan Bate's
Shakespeare and Ovid, Raphael Lyne's Ovid's Changing Worlds:
English Metamorphoses 1567-1632, and important essays by Colin
Burrow. In the words of Paul Alpers, Professor Stapleton does not
wish "to oppose the historical aesthetic" but to understand
Spenser's "claim to relative autonomy" in his emulation and
reconfiguration of his predecessors.
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