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Tamburlaine the Great de Christopher Marlowe

Tamburlaine the Great: The Revels Plays

Autor Christopher Marlowe
en Limba Engleză Paperback – 24 iun 1999
Authoritative version of this much loved play. Back in print after a dozen years with corrections and amendations. Part of MUP's strategy to have the complete works of Marlowe in print by the year 2000. Very popular edition by one of the most respected dramatic scholars.
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Specificații

ISBN-13: 9780719030963
ISBN-10: 071903096X
Pagini: 338
Dimensiuni: 138 x 216 x 28 mm
Greutate: 0.44 kg
Editura: MANCHESTER UNIVERSITY PRESS
Seria The Revels Plays

Locul publicării:United Kingdom

Notă biografică

Dramatist, son of a shoemaker at Canterbury, where he was born, was educated at the King's School there, and in 1581 went to Benet's (now Corpus Christi) College, Cambridge, where he graduated B.A. 1583, and M.A. in 1587. Marlowe shunned a life as a clergyman which university wits like himself were expected to follow, and moved to London to pursue the insecure craft of a playwright. Among his early plays were 'Tamburlaine the Great' and 'The Famous Tragedy of the Rich Jew of Malta', all well-received by Elizabethan audiences and displaying an impressive poetic talent that was bold enough to use high-quality blank verse for the first time in English theatre. He collaborated with friend and literary colleague, William Shakespeare, on 'Henry VI' and 'Titus Andronicus' and his influence on Shakespeare is seen in the latter's restrained use of rhyme in 'Richard III'. Traditional rhyme was eschewed by Marlowe in preference for blank verse, over which he acquired a constantly increasing mastery.

Descriere

This fully annotated version, with parts one and two in a single volume, takes account of the recent work on Marlowe. This text is related to contemporary theatrical conventions and conditions, and offers a critical account of the play closely attuned to a sense of theatre.

Recenzii

"Arguably the single-most important play of the Elizabethan era, Tamburlaine did more than any other to transform an insignificant form of public entertainment, barely distinguishable from the juggling, fencing, and animal-baiting with which it shared its performance space, into an art of national importance. . . . Tamburlaine cranks the excitements of language and spectacle to an unprecedented pitch, not simply to indulge the fantasies of the audience but as an exemplary demonstration of poetry's dangerous potency."—The New York Review of Books