The Complete Works of Christopher Marlowe: Volume V: Tamburlaine the Great, Parts 1 and 2, and The Massacre at Paris with the Death of the Duke of Guise
Christopher Marlowe
Clarendon Press
1998
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This volume, which completes the Oxford English Texts edition of The Complete Works of Christopher Marlowe, contains the two parts of Tamburlaine the Great, edited by David Fuller, and The Massacre at Paris, edited by Edward J. Esche. It is the first time that either text has been presented in an old-spelling edition with a full critical commentary and textual annotation. The introduction to Tamburlaine gives a detailed account of the plays' sources, stage history, and text. The critical discussion considers the fundamental clashes which Marlowe dramatizes; the differing interpretations - often involved with opposing views of the Renaissance - to which these have given rise; and how new critical methodologies, and recent research into occult traditions in the Renaissance, might affect our reading of Marlowe. The commentary brings together the extensive modern scholarship on the plays, offers some new suggestions about their probable stage action, and cites new material from the period to contextualize Marlowe's treatment of war, medicine, religious controversy, and many other subjects. It also draws on scholarship on Elizabethan pronunciation to clarify Marlowe's poetic rhythms, and uses the revised edition of OED to investigate more fully than has previously been possible the originality and inventiveness of Marlowe's language. The Massacre at Paris survives only in a severely mangled version, which bears many of the signs of a `reported text'; nevertheless, it provides us with the unique example of Marlowe using contemporary French history as his subject matter. The play has been edited from the copy of the Octavo once belonging to Edmund Malone, now held in the Bodleian Library. The edition also presents the single extant leaf of Massacre (Folger MS. J.b.8) in an authoritative form with apparatus, and argues for its legitimacy as a genuine playhouse document, although not Marlowe's autograph.
