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Presents the full text of some poetry written by English poet George Peele (1556-1596), from the "Oxford English Verse 1900" and provided online by Bibliomania.com, Ltd. Includes "Fair and Fair," "A Summer Song," and "A Farewell to Arms."
Contains over 600 entries describing novels that have theatrical settings or in which characters work in the theatre.
Kit Marlowe was the bad boy of Elizabethan drama. His ‘mighty line’ of iambic pentameter transformed the miracle plays of the Middle Ages into modern drama and he paved the way for Shakespeare and a dozen other greats who stole his metre and his ideas. When he died, stabbed through the eye in what appeared to be a tavern brawl in Deptford in May 1593, he was only 29 and many people believed that he had met his just deserts. ​ But Marlowe’s death was not the result of a brawl. And it did not take place in a tavern. The facts tell a different story, one involving intrigue, espionage, alchemy and the highest in the land. ​ Born the son of a shoemaker in Canterbury, Marlowe read Theology at Corpus Christi College, Cambridge and was destined for a career in Elizabeth I’s new Church of England. But in 1583, he moved to London and wrote dazzling new plays like Dido, Queen of Carthage, Tamburlaine, the Jew of Malta and Doctor Faustus. He was the ‘Muse’s darling’, ‘all fire and air’ and the crowds flocked to his dramas at the Curtain, the Theatre and the Rose. ​ But even before he left Cambridge, Kit Marlowe was recruited into the dangerous and murky world of espionage, perhaps by Nicholas Faunt, secretary to the queen’s spymaster, Francis Walsingham. The religious world was split between Catholic and Protestant and there was a price on the queen’s head - the pope himself had ordered the assassination of the English whore, the Jezebel, who had betrayed Catholicism. Walsingham’s efforts and those of ‘intelligencers’ like Marlowe, were all designed to keep the queen and her country safe. ​ Marlowe was a maverick, a whistle-blower, with outspoken views on religion, the government for which he worked and he was critical of the norms of behaviour. Almost certainly homosexual, at a time when that meant execution, he claimed that Christ had a homosexual relationship with John the Baptist. Or did he? Was all that merely propaganda, invented by the ever-growing list of enemies building up by 1593? This book offers a different interpretation to the death in Deptford. Marlowe knew too much about the Privy Council, the gang of four who effectively ran England under the queen. He openly defied them in his last plays – the Massacre at Paris and Edward II. And they, in turn, were keen to destroy him – ‘His mouth must be stopped’ – and stopped it was by a trio of agents operating at the highest level. ​ The brutal murder of a young playwright at the peak of his powers has intrigued and captivated for over 400 years. This compelling journey through the evidence allows us to know, for the first time, who killed him.
Owing to the decline of his contemporary fame and to decades of posthumous neglect, Herman Melville remains enigmatic to readers despite his status as one of America’s most securely canonical authors. Born into patrician wealth but plunged into poverty as a child, in 1840 he signed aboard the whaleship Acushnet in the midst of a nationwide depression and sailed to the South Pacific. At the Marquesas Islands, he deserted and lived for a time among one of the group’s last unsubjugated tribes. Upon his return home, he achieved overnight success with a book based on his experiences, Typee (1846). Melville’s mastery of the English language and heterodox views made him a source of both controversy and fascination to western readers, until his increasing commitment to artistry and contempt for artificial conventions led him to write Moby-Dick (1851) and its successor Pierre (1852). Although the former is considered his masterwork today, the books offended mid-nineteenth-century cultural sensibilities and alienated Melville from the American literary marketplace. The resulting eclipse of his popular reputation was deepened by his voluntary withdrawal from society, so that obituaries written after his death in 1891 frequently expressed surprise that he hadn’t died long before. With most of his personal papers and letters lost or destroyed, his library of marked and annotated books dispersed, and first-hand accounts of him scattered, brief, and frequently conflicting, Melville’s place in American literary scholarship illustrates the importance of accurately edited documents and the value of new information to our understanding of his life and thought. As a chronologically organized collection of surviving testimonials about the author, Melville in His Own Time continues the tradition of documentary research well-exemplified over the past half-century by the work of Jay Leyda, Merton M. Sealts, and Hershel Parker. Combining recently discovered evidence with new transcriptions of long-known but rarely consulted testimony, this collection offers the most up-to-date and correct record of commentary on Melville by individuals who knew him.