Christopher Marlowe

Title: The Works of Christopher Marlowe, including his translations. Edited, with notes and introduction, by Lt.-Col. F. Cunningham, etc. Publisher: British Library, Historical Print EditionsThe British Library is the national library of the United Kingdom. It is one of the world's largest research libraries holding over 150 million items in all known languages and formats: books, journals, newspapers, sound recordings, patents, maps, stamps, prints and much more. Its collections include around 14 million books, along with substantial additional collections of manuscripts and historical items dating back as far as 300 BC. The POETRY & DRAMA collection includes books from the British Library digitised by Microsoft. The books reflect the complex and changing role of literature in society, ranging from Bardic poetry to Victorian verse. Containing many classic works from important dramatists and poets, this collection has something for every lover of the stage and verse. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++ British Library Marlowe, Christopher; Cunningham, Francis; 1871. 8 . 11771.dd.1.

Critically, theatrically, and politically, the time is ripe for a new edition of Christopher Marlowe's Edward II. Critically, the play has come to be, in the past several decades, a central document in histories and analyses of sexuality in early modern England, with the major figures in gay/queer history and literature of the period contributing to the discussion of male homoeroticism, same-sex friendship, and early modern sodomy in the play. Marlowe - and the relation of his life and death to his writing - has continued to generate interest and controversy among critics as well as the general reading public. At the same time, more traditional questions asked of the play- its contested status as history or tragedy, its status as an early exemplar of the history play, its relation to Shakespeare's histories-have continued to attract critical attention. Edited to the highest Arden standard, the edition gives students a modernised, comprehensively annotated text with a lengthy, illustrated introduction discussing the play's treatment of same-sex relationships both in Marlowe's day and our own, an analysis of the play in performance and in relation to other plays of the period, and a discussion of changing critical views of its themes of obsessive love, power and politics.

Critically, theatrically, and politically, the time is ripe for a new edition of Christopher Marlowe's Edward II. Critically, the play has come to be, in the past several decades, a central document in histories and analyses of sexuality in early modern England, with the major figures in gay/queer history and literature of the period contributing to the discussion of male homoeroticism, same-sex friendship, and early modern sodomy in the play. Marlowe - and the relation of his life and death to his writing - has continued to generate interest and controversy among critics as well as the general reading public. At the same time, more traditional questions asked of the play- its contested status as history or tragedy, its status as an early exemplar of the history play, its relation to Shakespeare's histories-have continued to attract critical attention. Edited to the highest Arden standard, the edition gives students a modernised, comprehensively annotated text with a lengthy, illustrated introduction discussing the play's treatment of same-sex relationships both in Marlowe's day and our own, an analysis of the play in performance and in relation to other plays of the period, and a discussion of changing critical views of its themes of obsessive love, power and politics.

'The first thing we do, let's kill all the lawyers.' Henry VI, Part II opens with a wedding and ends with a civil war, cycling through witchcraft, adultery, multiple murders, pirates, and an entire popular rebellion across its five acts. Its characters are larger-than-life, wielding curses as easily as they do swords or daggers, conjuring demons to seek prophetic knowledge, and transforming a struggle for the English throne into a cosmic blood feud between the houses of York and Lancaster. The New Oxford Shakespeare offers authoritative editions of Shakespeare's works with introductory materials designed to encourage new interpretations of the plays and poems. Using the text from the landmark The New Oxford Shakespeare Complete Works: Modern Critical Edition, these volumes offer readers the latest thinking on the authentic texts (collated from all surviving original versions of Shakespeare's work) alongside innovative introductions from leading scholars. The texts are accompanied by a comprehensive set of critical apparatus to give readers the best resources to help understand and enjoy Shakespeare's work. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

'No, no, I am but shadow of myself...' Henry VI, Part I paints a vivid picture of political ambition, civil unrest, and war. One of Shakespeare's most collaborative plays, it was a theatrical hit when it was first performed in 1592. Scenes alternate between conflict at home and on foreign soil: between the growing civil dissention that would lead to the Wars of the Roses and the battles of the Hundred Years' War over England's claim to the French throne. It is an action-packed play, but one that offers a profound meditation on individual sacrifice and heroism, corruption, and the costs of conflict. Amy Lidster's introduction examines the play's historical, political, and theatrical contexts, offering a compelling analysis of the affective potential of theatre, language, and narrative to effect political change and shape our understanding of the history that it dramatizes. The introduction explores the play's use of sources, its position within a trilogy of plays about the reign of Henry VI, and its prominent but conflicted representation of France's defender, Joan la Pucelle (Joan of Arc). The introduction offers a fresh analysis of the vibrant theatrical repertory into which the play emerged — one that was marked by politically invested drama that staged diverse, transnational histories. The New Oxford Shakespeare offers authoritative editions of Shakespeare's works with introductory materials designed to encourage new interpretations of the plays and poems. Using the text from the landmark The New Oxford Shakespeare Complete Works: Modern Critical Edition, these volumes offer readers the latest thinking on the authentic texts (collated from all surviving original versions of Shakespeare's work) alongside innovative introductions from leading scholars. The texts are accompanied by a comprehensive set of critical apparatus to give readers the best resources to help understand and enjoy Shakespeare's work. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Massacre at Paris presents a stark portrayal of political ambition colliding with intense religious divisions. The play reveals how personal hunger for control can ignite widespread violence, showing a nation spiraling into chaos as powerful figures manipulate faith for strategic gain. What begins as tension between opposing beliefs escalates into calculated brutality, where loyalty becomes uncertain and trust dissolves into fear. The narrative emphasizes how individuals justify extreme actions when convinced their cause is absolute, blurring the line between righteousness and cruelty. Scenes of shifting alliances and secretive planning highlight how easily convictions can be weaponized, turning public duty into a personal battlefield. Rather than focusing only on events, the work explores the emotional consequences of living in an unstable society, where uncertainty erodes reason and violence becomes routine. The play suggests that when power becomes more important than humanity, even faith can be twisted into a justification for destruction. In the end, the work stands as a cautionary examination of how fear and ambition can reshape a nation and fracture its people.