The essential lyric works of the great Elizabethan playwright--newly revised and updated Though best known for his plays--and for courting danger as a homosexual, a spy, and an outspoken atheist--Christopher Marlowe was also an accomplished and celebrated poet. This long-awaited updated and revised edition of his poems and translations contains his complete lyric works--from his translations of Ovidian elegies to his most famous poem, "The Passionate Shepherd to His Love," to the impressive epic mythological poem "Hero and Leander." For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

The Complete Poems and Translations (Penguin Classics)

Literature & Fiction

MARLOWE, Christopher

Orgel, Stephen

Genre Fiction

Penguin Publishing Group

The Idea of the Book and the Creation of Literature (Oxford Textual Perspectives)

The Idea of the Book and the Creation of Literature explores the intersection of literary history and the history of the book. For several millennia, books have been the material embodiment of knowledge and culture, and an essential embodiment for any kind of knowledge involving texts. Texts, however, do not need to be books-they are not even necessarily written. The oldest poems were composed to be recited, and only written down centuries later. Much of the most famous poetry of the English Renaissance was composed in manuscript form to circulate among a small social circle. Plays began as scripts for performance. What happens to a play when it becomes a book, or to a collection of poems circulated among friends when it becomes a volume of sonnets? How do essays, plays, poems, stories, become Works? How is an author imagined? In this new addition to the Oxford Textual Perspectives series, Stephen Orgel addresses such questions and considers the idea of the book not simply as a 
container for written work, but as an essential element in its creation.

History & Criticism

Oxford University Press

The Idea of the Book and the Creation of Literature explores the intersection of literary history and the history of the book. For several millennia, books have been the material embodiment of knowledge and culture, and an essential embodiment for any kind of knowledge involving texts. Texts, however, do not need to be books-they are not even necessarily written. The oldest poems were composed to be recited, and only written down centuries later. Much of the most famous poetry of the English Renaissance was composed in manuscript form to circulate among a small social circle. Plays began as scripts for performance. What happens to a play when it becomes a book, or to a collection of poems circulated among friends when it becomes a volume of sonnets? How do essays, plays, poems, stories, become Works? How is an author imagined? In this new addition to the Oxford Textual Perspectives series, Stephen Orgel addresses such questions and considers the idea of the book not simply as a container for written work, but as an essential element in its creation.

The Reader in the Book is concerned with a particular aspect of the history of the book, an archeology and sociology of the use of margins and other blank spaces. One of the most commonplace aspects of old books is the fact that people wrote in them, something that, until very recently, has infuriated modern collectors and librarians. But these inscriptions constitute a significant dimension of the book's history, and what readers did to books often added to their value. Sometimes marks in books have no relation to the subject of the book, merely names, dates, prices paid; blank spaces were used for pen trials and doing sums, and flyleaves are occasionally the repository of records of various kinds. The Reader in the Book deals with that special class of books in which the text and marginalia are in intense communication with each other, in which reading constitutes an active and sometimes adversarial engagement with the book. The major examples are works that are either classics or were classics in their own time; but they are seen here as contemporaries read them, without the benefit of centuries of commentary and critical guidance. The underlying question is at what point marginalia, the legible incorporation of the work of reading into the text of the book, became a way of defacing it rather than of increasing its value-why did we want books to lose their history?

The Reader in the Book: A Study of Spaces and Traces (Oxford Textual Perspectives)

The Globe in Print: The Book of the Play in the Age of Shakespeare (Oxford Textual Perspectives)

How did the popular drama of Shakespeare's age become literature? Every work that has survived from the theater of past ages has gone through some editorial process to make it available to readers. The book of the play is not the play on the stage; returning it to the stage for modern audiences is not a simple or straightforward process, nor can we simply read backwards from the texts that have come down to us to deduce what Shakespeare's or Jonson's (or Aristophanes's or Sophocles's) audiences saw. Editorial efforts since the first folio of 1623 have attempted to establish a correct, final text of Shakespeare's plays, as the folio promises "the true, original copies." Yet the text in the theater changed constantly, as the actors adapted the plays to take into account their changing audiences. The publisher of the folio of Beaumont and Fletcher's plays in 1647 acknowledges that his texts include more than the plays on the stage--"all that was acted and all that was not." In performance, the play at the Globe was not the play at court, nor was any play the same when it was revived in a subsequent season. Moreover, performances always involved improvisation on the part of the actors, and the continual response (often vocal and energetic) of the audience. This book is about what happens to plays when they become books.

The Jonsonian Masque

Columbia Univ. Pr.

The Authentic Shakespeare

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

The Authentic Shakespeare: and Other Problems of the Early Modern Stage

Dramas & Plays

Routledge

First published in 2003. Routledge is an imprint of Taylor &amp; Francis, an informa company.

See the best price to sell, buy, or rent books by Orgel, Stephen. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Orgel, Stephen

See the best price to sell, buy, or rent books by Orgel, Stephen. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

The Complete Poems and Translations (Penguin Classics)

The Idea of the Book and the Creation of Literature (Oxford Textual Perspectives)

The Idea of the Book and the Creation of Literature (Oxford Textual Perspectives)

The Reader in the Book: A Study of Spaces and Traces (Oxford Textual Perspectives)

The Reader in the Book: A Study of Spaces and Traces (Oxford Textual Perspectives)

The Globe in Print: The Book of the Play in the Age of Shakespeare (Oxford Textual Perspectives)

The Globe in Print: The Book of the Play in the Age of Shakespeare (Oxford Textual Perspectives)

The Jonsonian Masque

The Authentic Shakespeare: and Other Problems of the Early Modern Stage

The Authentic Shakespeare