Christopher Marlowe

Christopher Marlowe
An anonymous portrait in Corpus Christi College, Cambridge, often believed to show Christopher Marlowe.
Occupation	Playwright, poet
Nationality	English
Period	circa 1586 – 1593
Literary movement	English renaissance theatre
Signature
File:KitMarloweSig.JPG

Christopher "Kit" Marlowe (baptised 26 February 1564 – 30 May 1593) was an English dramatist, poet, and translator of the Elizabethan era. The foremost Elizabethan tragedian before William Shakespeare, he is known for his magnificent blank verse, his overreaching protagonists, and his own untimely death.

Early life

Marlowe was christened at St George's Church Canterbury

Christopher Marlowe was christened at St George's Church, Canterbury, on 26 February 1564. He was born to a shoemaker in Canterbury named John Marlowe and his wife Katherine. Marlowe attended The King's School, Canterbury (where a house is now named after him) and Corpus Christi College, Cambridge on a scholarship and received his bachelor of arts degree in 1584. In 1587 the university hesitated to award him his master's degree because of a rumour that he had converted to Roman Catholicism and intended to go to the English college at Rheims to prepare for the priesthood. However, his degree was awarded on schedule when the Privy Council intervened on his behalf, commending him for his "faithful dealing" and "good service" to the queen. The nature of Marlowe's service was not specified by the Council, but their letter to the Cambridge authorities has provoked much speculation, notably the theory that Marlowe was operating as a secret agent working for Sir Francis Walsingham's intelligence service. No direct evidence supports this theory, although Marlowe obviously did serve the government in some capacity.

Literary career

Dido, Queen of Carthage is Marlowe's first drama, co-written with Thomas Kyd.

Marlowe's first play performed onstage in London stage was Tamburlaine (1587) about the conqueror Timur, who rises from shepherd to warrior. It is among the first English plays in blank verse, and, with Thomas Kyd's The Spanish Tragedy, generally is considered the beginning of the mature phase of the Elizabethan theatre. Tamburlaine was a success, and was followed with Tamburlaine Part II. The sequence of his plays is unknown; all deal with controversial themes.

The Jew of Malta, about a Maltese Jew's barbarous revenge against the city authorities, has a prologue delivered by a character representing Machiavelli. The protagonist, Barabas is sympathetic, while the Christians are unsympathetic; in his continual plotting and script writing, Barabas often is likened to Marlowe, himself.

Edward the Second is an English history play about the deposition of the homosexual King Edward II by his barons and the Queen of France.

The Massacre at Paris is short (believed a memorial construction by actors) portraying the events of the Saint Bartholomew's Day Massacre in 1572, which English Protestants invoked as the blackest example of Catholic treachery. It features the silent "English Agent" (rumoured to be Marlowe and his connection to the secret service). Along with The Tragical History of Doctor Faustus, The Massacre at Paris is believed his most dangerous play, as it is about regnant monarchs and politicians (then a treasonable action), and, indeed, addressing Elizabeth I in its last scene.

The Tragical History of Doctor Faustus, based on the German Faustbuch, was the first dramatised version of the Faust legend of a scholar's dealing with the devil. Whilst versions of "The Devil's Pact" can be traced back to the 4th century, Marlowe deviates significantly by having his hero unable to "burn his books" or have his contract repudiated by a merciful god at the end of the play. Marlowe's protagonist is instead torn apart by demons and dragged off screaming to hell. Dr Faustus is a textual problem for scholars as it was highly edited (and possibly censored) and rewritten after Marlowe's death. Two versions of the play exist: the 1604 quarto, also known as the A text, and the 1616 quarto or B text. Many scholars believe that the A text is more representative of Marlowe's original because it contains irregular character names and idiosyncratic spelling: the hallmarks of a text that used the author's handwritten manuscript, or "foul papers," as a major source.

Marlowe's plays were enormously successful, thanks in part, no doubt, to the imposing stage presence of Edward Alleyn. He was unusually tall for the time, and the haughty roles of Tamburlaine, Faustus, and Barabas were probably written especially for him. Marlowe's plays were the foundation of the repertoire of Alleyn's company, the Admiral's Men, throughout the 1590s.

Marlowe also wrote poetry, including a, possibly, unfinished minor epic, Hero and Leander (published with a continuation by George Chapman in 1598), the popular lyric The Passionate Shepherd to His Love, and translations of Ovid's Amores and the first book of Lucan's Pharsalia.

The two parts of Tamburlaine were published in 1590; all Marlowe's other works were published posthumously. In 1599, his translation of Ovid was banned and copies publicly burned as part of Archbishop Whitgift's crackdown on offensive material.

The Marlowe legend

Marlowe Theatre, Canterbury

As with other writers of the period, little is known about Marlowe. Most of the evidence is legal records and other official documents that tell us little about him. This has not stopped writers of both fiction and non-fiction from speculating about his activities and character. Marlowe has often been described as a spy, a brawler, a heretic, and a homosexual, as well as a "magician", "duelist", "tobacco-user", "counterfeiter", and "rakehell". The evidence for most of these claims is slight. The bare facts of Marlowe's life have been embellished by many writers into colourful, and often fanciful, narratives of the Elizabethan underworld.

Spying

Marlowe is often alleged to have been a government spy.

Possible evidence of spying

As noted above, in 1587 the Privy Council ordered Cambridge University to award Marlowe his MA, denying rumours that he intended to go to the English Catholic college in Rheims, saying instead that he had been engaged in unspecified "affaires" on "matters touching the benefit of his country". This from a document dated June 29th, 1587, from the Public Records Office - Acts of Privy Council.

It has sometimes been theorized that Marlowe was the "Morley" who was tutor to Arbella Stuart in 1589, described by Arbella's guardian, the Countess of Shrewsbury, as having hoped for an annuity of some £40 from Arbella, his being "so much damnified (i.e. having lost this much) by leaving the University". This possibility was first raised in a TLS letter by E. St John Brooks in 1937; in a letter to Notes and Queries, John Baker has added that only Marlowe could be Arbella's tutor due to the absence of any other known "Morley" from the period with an MA and not otherwise occupied. Some biographers think that the "Morley" in question may have been a brother of the musician Thomas Morley. If Marlowe was Arbella's tutor, it might indicate that he was a spy, since Arbella, niece of Mary Queen of Scots and cousin of James VI of Scotland, later James I of England, was at the time a strong candidate for the succession of Elizabeth's throne.

In 1592, Marlowe was arrested in the Dutch town of Flushing for attempting to counterfeit coins. He was sent to be dealt with by the Lord Treasurer (Burghley) but no charge or imprisonment seems to have resulted.

Arrest and death

In early May 1593 several bills were posted about London threatening Protestant refugees from France and the Netherlands who had settled in the city. One of these, the "Dutch church libel", written in blank verse, contained allusions to several of Marlowe's plays and was signed "Tamburlaine." On 11 May the Privy Council ordered the arrest of those responsible for the libels. The next day, Marlowe's colleague Thomas Kyd was arrested. Kyd's lodgings were searched and a fragment of a heretical tract was found. Kyd asserted, possibly under torture, that it had belonged to Marlowe. Two years earlier they had both been working for an aristocratic patron, probably Ferdinando Stanley, Lord Strange, and Kyd suggested that at this time, when they were sharing a workroom, the document had found its way among his papers. Marlowe's arrest was ordered on 18 May. Marlowe was not in London, but was staying with Thomas Walsingham, the cousin of the late Sir Francis Walsingham, Elizabeth's principal secretary in the 1580s and a man deeply involved in state espionage. However, he duly appeared before the Privy Council on 20 May and was instructed to "give his daily attendance on their Lordships, until he shall be licensed to the contrary." On 30 May, Marlowe was murdered.

Various versions of Marlowe's death were current at the time. Francis Meres says Marlowe was "stabbed to death by a bawdy serving-man, a rival of his in his lewd love" as punishment for his "epicurism and atheism". In 1917, in the Dictionary of National Biography, Sir Sidney Lee wrote that Marlowe was killed in a drunken fight, and this is still often stated as fact today.

The facts only came to light in 1925 when the scholar Leslie Hotson discovered the coroner's report on Marlowe's death in the Public Record Office. Marlowe had spent all day in a house (not a tavern, as is widely claimed, even in some biographies) in Deptford, owned by the widow Eleanor Bull, along with three men, Ingram Frizer, Nicholas Skeres and Robert Poley. All three had been employed by the Walsinghams. Skeres and Poley had helped snare the conspirators in the Babington plot. Frizer was a servant of Thomas Walsingham. Witnesses testified that Frizer and Marlowe had earlier argued over the bill, exchanging "divers malicious words." Later, while Frizer was sitting at a table between the other two and Marlowe was lying behind him on a couch, Marlowe snatched Frizer's dagger and began attacking him. In the ensuing struggle, according to the coroner's report, Marlowe was accidentally stabbed above the right eye, killing him instantly. The jury concluded that Frizer acted in self-defence, and within a month he was pardoned. Marlowe was buried in an unmarked grave in the churchyard of St. Nicholas, Deptford, on 1 June1593.

Marlowe's death is alleged by some to be an assassination for the following reasons:

1. The three men who were in the room with him when he died were all connected both to the state secret service and to the London underworld. Frizer and Skeres also had a long record as loan sharks and con-men, as shown by court records. Bull's house also had "links to the government's spy network."
2. Their story that they were on a day's pleasure outing to Deptford is considered implausible. In fact, they spent the whole day closeted together, deep in discussion. Also, Robert Poley was carrying confidential despatches to the Queen, who was at her palace of Nonsuch in Surrey, but instead of delivering them, he spent the day with Marlowe and the other two.
3. It seems too much of a coincidence that Marlowe's death occurred only a few days after his arrest for heresy.
4. The manner of Marlowe's arrest suggests causes more tangled than a simple charge of heresy would generally indicate. He was released in spite of prima facie evidence, and even though the charges implicitly connected Sir Walter Raleigh and the Earl of Northumberland with the heresy. Thus, it seems probable that the investigation was meant primarily as a warning to the politicians in the "School of Night," and/or that it was connected with a power struggle within the Privy Council itself.
5. The various incidents that hint at a relationship with the Privy Council (see above), and by the fact that his patron was Thomas Walsingham, Sir Francis' second cousin, who was actively involved in intelligence work.

For these reasons and others, some believe there was more to Marlowe's death than emerged at the inquest. It is also possible that he was not murdered at all, and that his death was faked. However, on the basis of our current knowledge, it is not possible to draw any firm conclusions about what happened or why. There are different theories of some degree of probability. Since there are only written documents on which to base any conclusions, and since it is probable that the most crucial information about his death was never committed to writing at all, it is unlikely that the full circumstances of Marlowe's death will ever be known.

Atheism

Marlowe had a reputation for atheism; it should be noted, however, that such a imputation would have had markedly different implications during Marlowe's period than in modern times. Contemporary evidence for this is comes from Marlowe's accuser in Flushing, an informer called Richard Baines. The governor of Flushing had reported that both men had accused one "of malice one to another" of instigating the counterfeiting, and of intention to go over to Catholicism; such an action was considered atheistic by the Protestants, who constituted the dominant religious faction in England at that time. Following Marlowe's arrest on a charge of atheism in 1593, Baines submitted to the authorities a "note containing the opinion of one Christopher Marly concerning his damnable judgment of religion, and scorn of God's word". Baines attributes to Marlowe a total of eighteen items which "scoff at the pretensions of the Old and New Testament" such as, "Christ was a bastard and his mother dishonest [unchaste]", "the woman of Samaria and her sister were whores and that Christ knew them dishonestly" and, "St John the Evangelist was bedfellow to Christ and leaned always in his bosom" (cf. John 13:23-25) and "that he used him as the sinners of Sodom". He also claims that Marlowe had Catholic sympathies. Other passages are merely sceptical in tone: "he persuades men to atheism, willing them not to be afraid of bugbears and hobgoblins". Hereafter follows the final paragraph of Baines' document in full:

These thinges, with many other shall by good & honest witnes be aproved to be his opinions and Comon Speeches, and that this Marlow doth not only hould them himself, but almost into every Company he Cometh he perswades men to Atheism willing them not to be afeard of bugbeares and hobgoblins, and vtterly scorning both god and his ministers as I Richard Baines will Justify & approue both by mine oth and the testimony of many honest men, and almost al men with whome he hath Conversed any time will testify the same, and as I think all men in Cristianity ought to indevor that the mouth of so dangerous a member may be stopped, he saith likewise that he hath quoted a number of Contrarieties oute of the Scripture which he hath giuen to some great men who in Convenient time shalbe named. When these thinges shalbe Called in question the witnes shalbe produced.

Similar statements were made by Thomas Kyd after his imprisonment and possible torture (see below); both Kyd and Baines connect Marlowe with the mathematician Thomas Harriot and Walter Raleigh's circle. Another document claims that Marlowe had read an "atheist lecture" before Raleigh; a man called Richard Chomley was charged with atheism and treason shortly after Marlowe's death, and noted in his testimony that "one Marlowe is able to show more sound reasons from atheism than any divine in England is able to give to prove divinity and that Marlowe told him that he hath read the atheist lecture to Sir Walter Raleigh and others".

Some critics believe that Marlowe sought to disseminate these views in his work and that he identified with his rebellious and iconoclastic protagonists. However, plays had to be approved by the Master of the Revels before they could be performed, and the censorship of publications was under the control of the Archbishop of Canterbury. Presumably these authorities did not consider any of Marlowe's works to be unacceptable (apart from the Amores).

Sexuality

Marlowe is sometimes described today as homosexual. Some believe that the question of whether an Elizabethan was "gay" or "homosexual" in a modern sense is anachronistic; for the Elizabethans, what is often today termed homosexual or bisexual was more likely to be recognised as simply a sexual act, rather than an exclusive sexual orientation and identity. (see History of homosexuality)

Some scholars have argued that the evidence is inconclusive and that the reports of Marlowe's homosexuality may simply be exaggerated rumours produced after his death. David Bevington and Eric Rasmussen describe Baines's evidence as "unreliable testimony" and make the comment: "These and other testimonials need to be discounted for their exaggeration and for their having been produced under legal circumstances we would regard as a witch-hunt". It has also been noted that Kyd's evidence was given after torture, and thus may have little connection to reality. One critic, J.B. Steanes, remarked that he considers there to be "no evidence for Marlowe's homosexuality at all", but that on the other hand "it seems absurd to dismiss all of these Elizabethan rumours and accusations as 'the Marlowe myth'"

Other scholars have argued that Marlowe's writing contains homosexual themes:

• In Dido, Queen of Carthage, he opens with a scene of Jupiter "dandling Ganymede upon his knee" and says "what is't, sweet wag, I should deny thy youth?, whose face reflects such pleasure to mine eyes." Venus complains during the play that Jupiter is playing "with that female wanton boy."
• In Hero and Leander, Marlowe writes of the male youth Leander, "in his looks were all that men desire" and that when the youth swims to visit Hero at Sestos, the sea god Neptune becomes sexually excited, "imagining that Ganymede, displeas'd... the lusty god embrac'd him, call'd him love... and steal a kiss... upon his breast, his thighs, and every limb", while the boy naive and unaware of Greek love practices said that, "You are deceiv'd, I am no woman, I... Thereat smil'd Neptune."

Diligent classicists often mimicked the homosexual themes they found in Greek and Roman texts (as Edmund Spenser did in The Shepheard's Calendar), but Marlowe accords these themes more prominence than almost any other writer besides Richard Barnfield. In conjunction with the rumours preserved in the historical record, the prominence of homosexual themes in Marlowe's work has led some to suspect, especially in the twentieth century, that Marlowe may have had an interest in same-sex love (although not necessarily in homosexual activity).

For debates of a somewhat similar nature, see Sexuality of William Shakespeare.

Marlowe's reputation among contemporary writers

Whatever the particular focus of modern critics, biographers and novelists, for his contemporaries in the literary world, Marlowe was above all an admired and influential artist. Within weeks of his death, George Peele remembered him as "Marley, the Muses' darling"; Michael Drayton noted that he "Had in him those brave translunary things/That the first poets had", and Ben Jonson wrote of "Marlowe's mighty line". Thomas Nashe wrote warmly of his friend, "poor deceased Kit Marlowe". So too did the publisher Edward Blount, in the dedication of Hero and Leander to Sir Thomas Walsingham.

Among the few contemporary dramatists to say anything negative about Marlowe was the anonymous author of the Cambridge University play The Return From Parnassus (1598) who wrote, "Pity it is that wit so ill should dwell,/Wit lent from heaven, but vices sent from hell."

The most famous tribute to Marlowe was paid by Shakespeare in As You Like It, where he not only quotes a line from Hero and Leander (Dead Shepherd, now I find thy saw of might, "Who ever loved that loved not at first sight?") but also gives to the clown Touchstone the words "When a man's verses cannot be understood, nor a man's good wit seconded with the forward child, understanding, it strikes a man more dead than a great reckoning in a little room." This appears to be a reference to Marlowe's murder (which involved a fight over the "reckoning" – the bill).

Shakespeare was indeed very influenced by Marlowe in his early work as can be seen in the re-using of Marlowe themes in Anthony and Cleopatra, The Merchant of Venice, Richard II, and Macbeth (Dido, Jew of Malta, Edward II and Dr Faustus respectively). Indeed in Hamlet, after meeting with the travelling actors, Hamlet starts discussing Dido, Queen of Carthage and quoting from it. As this was Marlowe's only play not to have been played in the public theatre we can see that Shakespeare was quite the Marlovian scholar. Indeed in Love's Labour's Lost, echoing Marlowe's The Massacre at Paris, Shakespeare brings on a character called Marcade (French for Mercury – the messenger of the Gods – a nickname Marlowe bestowed upon himself) who arrives to "interrupt'st" the "merriment" with news of the King's death. This is a fitting tribute for one who delighted in destruction in his plays.

Marlowe as Shakespeare

Main articles: Shakespearean authorship question and Marlovian theory

Given the murky inconsistencies concerning the account of Marlowe's death, an ongoing conspiracy theory has arisen centred on the notion that Marlowe may have faked his death and then continued to write under the assumed name of William Shakespeare. Authors who have propounded this theory include:

• Wilbur Gleason Zeigler It Was Marlowe (1895)
• Calvin Hoffman, The Man Who Was Shakespeare, Mitre Press (1955)
• Calvin Hoffman, The Murder of the Man Who Was Shakespeare, Grosset & Dunlap (1960)
• Louis Ule, Christopher Marlowe (1564-1607): A Biography
• A D Wraight, The Story that the Sonnets Tell (1994)
• Roderick L Eagle, The Mystery of Marlowe's Death, N&Q (1952)
• William Honey, The Shakespeare Epitaph Deciphered, Mitre Press (1969)

Works

The dates of composition are approximate.

Plays

• Dido, Queen of Carthage (c.1586) (possibly co-written with Thomas Nashe)
• Tamburlaine, part 1 (c.1587)
• Tamburlaine, part 2 (c.1587-1588)
• The Jew of Malta (c.1589)
• Doctor Faustus (c.1589, or, c.1593)
• Edward II (c.1592)
• The Massacre at Paris (c.1593)

The play Lust's Dominion was attributed to Marlowe upon its initial publication in 1657, though scholars and critics have almost unanimously rejected the attribution.

Poetry

• Translation of Lucan's Pharsalia (date unknown)
• Translation of Ovid's Elegies (c. 1580s?)
• The Passionate Shepherd to His Love (pre-1593; because it is constantly referred to in his own plays we can presume an early date of mid-1580s)
• Hero and Leander (c. 1593, unfinished; completed by George Chapman, 1598)

Marlowe in fiction

• The upcoming play 'Upstart Crows' written by Mike Punter centres around the life of Marlowe, Edward Alleyn, Jack Alleyn and other characters that centre around their lives. Its first performance was at the Edward Alleyn theatre in Dulwich College in November 2007, and it goes on from there to be performed in the 2008 Edinburgh fringe festival.
• Marlowe was the title character of a 1981 stage musical that had a brief Broadway run. It was rather unsuccessful.
• Marlowe features heavily in the Harry Turtledove alternative history novel Ruled Britannia (2002), about an England ruled by Catholics. He is depicted as a contemporary and friend of Shakespeare.
• Marlowe is played by Rupert Everett in the film Shakespeare in Love (1998), in which he helps Shakespeare to write Romeo and Juliet. His last line is a cheery "Well, I'm off to Deptford!" After Marlowe's murder, screenwriters Marc Norman and Tom Stoppard have Shakespeare say, "I would change all my plays to come for one of his that will never come".
• Marlowe had survived his assassination in the tangentially alternative history novel Armor of Light by Melissa Scott and Lisa A. Barnett, rescued by Sir Philip Sidney, who in reality died before then, and plays a major role in the story.
• In Neil Gaiman's comic The Sandman, Marlowe makes a brief appearance in a pub. He and Shakespeare are discussing the content of "Faustus" while Morpheus and an immortal human have their own conversation. Marlowe is represented as a great playwright with the young and inexperienced Shakespeare in awe of his friend. Marlowe is also referenced in a later Shakespeare-centric Sandman comic, in which Morpheus tells Shakespeare of his friend's assassination.
• Marlowe is a central character in Lisa Goldstein's fantasy novel Strange Devices of the Sun and Moon
• Connie Willis's "Winter's tale" features Marlowe as a major character.
• Louise Welsh's Tamburlaine Must Die is a novel based on a fictitious theory about the last two weeks of Marlowe's life.
• Leslie Silbert's The Intelligencer, a novel, intertwines Marlowe as a possible spy in his time and events in the present, Washington Square Press, 2004. ISBN 0-7434-3292-4
• Anthony Burgess, A Dead Man in Deptford is an account of Marlowe and his death; according to Burgess, it is fictionalized but does not depart from any known historical facts.
• The School of Night (ISBN 0-312-28778-X), by Alan Wall, features a protagonist/narrator who constructs a theory identifying a not-really-dead Marlowe as the author of Shakespeare's works, with the Stratfordian merely a cat's-paw enlisted to pass them off as his own for money and/or because Marlowe's espionage on the continent discovered that Shakespeare was a crypto-Catholic.
• Marlowe is the central character in One Dagger for Two by Philip Lindsay, which includes some speculation about his death.
• Marlowe is one of the guest characters, having allegedly survived his murder sixteen years previously, in Andy Lane's The Empire of Glass, a Doctor Who Missing Adventure featuring the First Doctor and set in Venice.
• Marlowe appears in four chapters of The Player's Boy, a children's book by Antonia Forest. He gives the fictional character Nicholas Marlow a ride to London in May 1593; Nicholas witnesses Marlowe's death in the house in Deptford, and later becomes a boy actor in the same company as William Shakespeare.
• Marlowe is the central character in The Christopher Marlowe Mysteries written by Ged Parsons for BBC Radio 4 (1993). This was a series of comedy adventures revolving around Marlowe's work as a spy. The four stories were: The Curious Case of the Curs'd Quayside, The Turbulent Tale of the Troubl'd Tragedy, The Perplex'd Plot of the Perilous Plague and The Murky Mystery of Murder at St Mark's. The series is repeated on digital radio station BBC 7.
• Marlowe is referenced in Tom Holt's Faust Among Equals (ISBN 1-85723-265-8) to great comic effect.
• Marlowe is one of several main characters in Rosemary Laurey's vampire series. He explains at one point that if his friend, Thomas Kyd had not turned him, he would have died.
• Marlowe is a major protagonist in Elizabeth Bear's Promethean Age books, specifically Whiskey & Water and Ink & Steel, and the short story This Tragic Glass.
• Christopher "Kit" Marlowe is alive and well (so to speak) as a vampire and is the main hero of Rosemary Laurey's paranormal romance "Kiss Me Forever". His character is also included in several of the sequel novels. Marlowe's heroine, modern Dixie LaPage, coincidentally, is well versed in his work before she meets him.
• Christian Camargo played the role of Kit Marlowe in the 2001 production of David Grimm's Kit Marlowe at the New York Public Theater. The production was a dark portrayal of Marlowe's life as a spy, playwright and lover.

See also

• The School of Night

Additional reading

• Brooke, C.F. Tucker. The Life of Marlowe and "The Tragedy of Dido, Queen of Carthage." London: Methuen, 1930. (pp. 107, 114, 99, 98)
• Marlow, Christopher. Complete Works. Vol. 3: Edward II. Ed. R. Rowland. Oxford: Clarendon Press, 1994. (pp. xxii-xxiii)
• Louis Ule Christopher Marlowe (1564-1607): A Biography, Carlton Press, 1996. ISBN 0-8062-5028-3
• David Bevington and Eric Rasmussen, Doctor Faustus and Other Plays, OUP, 1998; ISBN 0-19-283445-2
• J. A. Downie and J. T. Parnell, eds., Constructing Christopher Marlowe, Cambridge 2000. ISBN 0-521-57255-X
• Constance Kuriyama,Christopher Marlowe: A Renaissance Life. Cornell University Press, 2002. ISBN 0-8014-3978-7
• Charles Nicholl, The Reckoning: The Murder of Christopher Marlowe, Vintage, 2002 (revised edition) ISBN 0-09-943747-3
• Alan Shepard, "Marlowe's Soldiers: Rhetorics of Masculinity in the Age of the Armada", Ashgate, 2002. ISBN 0-7546-0229-X
• M. J. Trow, Who Killed Kit Marlowe?, Sutton, 2002; ISBN 0-7509-2963-4
• Anthony Burgess, A Dead Man in Deptford, Carroll & Graf, 2003. (novel about Marlowe based on the version of events in The Reckoning) ISBN 0-7867-1152-3
• David Riggs, "The World of Christopher Marlowe", Henry Holt and Co., 2005 ISBN 0-8050-8036-8
• Louise Walsh "Tamburlaine Must Die", novella based around the build up to Marlowe's death.
• John Passfield, Water Lane: The Pilgrimage of Christopher Marlowe (novel) Authorhouse, 2005 ISBN 1-4208-1558-X
• John Passfield, The Making of Water Lane (journal) Authorhouse, 2005 ISBN 1-4208-2020-6
• Park Honan, Christopher Marlowe Poet and Spy Oxford University Press, 2005 ISBN 0-19-818695-9
• John Parker, "The Aesthetics of Antichrist: From Christian Drama to Christopher Marlowe." Cornell University Press, 2007. ISBN 978-0-8014-4519-4

External links

• The Marlowe Society
• Marlowe Lives!
• The works of Marlowe at Perseus Project
• Works by Christopher Marlowe at Project Gutenberg
• Matthew G. Scarsbrook's Marlowe Research Page contains a balanced biography, timeline, descriptions of Marlowe's known associates, and transcripts of all the key Marlowe-related documents
• Peter Farey's Marlowe Page includes a factual biography and reproduces the documents concerning Marlowe as well as his complete works (but also contains material related to the Shakespearean authorship question)
• Peter Bull presents a case for Marlowe as the true author of Shakespeare's Sonnets.
• The Rose Theatre where Marlowe made his name
• Works by Christopher Marlowe in e-book
• A Deception in Deptford A compelling and through exposition of (circumstantial) evidence for the Marlowe-as-Shakespeare theory. Evidence is presented, which suggests:

1. That Marlowe was very probably still alive two years after his supposed death in May 1593,
2. That his survival would have made possible a collaboration explaining the exceptional influence Marlowe is said to have had upon the works of Shakespeare,
3. That Marlowe probably played a major part in such a collaboration.