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The Marlowe-Shakespeare Continuum: Christopher Marlowe, Thomas Nashe, and the Authorship of Early Shakespeare and Anonymous Plays, by Donn
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In The Marlowe-Shakespeare Continuum, Donna N. Murphy demonstrates how Marlowe, sometimes in co-authorship with humorist Nashe, appears to have become Shakespeare on a linguistic basis. She documents a sharp, upward learning curve, with the initial penning of works she examines in the following chronological order: Caesar's Revenge, II Henry VI, The Taming of a Shrew, III Henry VI, Edward III, Titus Andronicus, Thomas of Woodstock, Romeo and Juliet, and I Henry IV, and separates certain plays into Marlowe and Nashe components. Those who read Murphy's book with an open mind will find her work surprisingly convincing.
- Sales Rank: #700845 in Books
- Published on: 2013-10-01
- Format: Unabridged
- Original language: English
- Number of items: 1
- Dimensions: 8.20" h x 1.20" w x 5.80" l, 1.27 pounds
- Binding: Hardcover
- 330 pages
Review
"Beaumont and Fletcher, Gilbert and Sullivan, Rogers and Hammerstein. To these illustrious duos, Donna Murphy adds Christopher Marlowe and Thomas Nashe, the brilliant Elizabethan dramatists. In her groundbreaking book The Marlowe-Shakespeare Continuum, she shows that this tandem collaborated on various anonymous early plays and Shakespeare works. Through a mountain of meticulously documented Matches, Near Matches, Rare Scattered Word Clusters, and Image Clusters, as well as logic and biographical connections, she makes a compelling case. The Marlowe-Shakespeare Continuum will forever change the way we regard these two literary giants as well as the Shakespeare authorship question." - Alex Jack, editor of Hamlet and As You Like It, and founder of christophermarlowe.org
About the Author
Donna N. Murphy is the author of The Mysterious Connection between Thomas Nashe, Thomas Dekker, and T. M.: An English Renaissance Deception?, and co-winner of the 2010 Hoffman Prize for her submission on Christopher Marlowe. She works as an Economic Analyst, most recently at the US Embassy in Seoul.
Most helpful customer reviews
1 of 1 people found the following review helpful.
Iconoclastic, Meticulous, Provocative, Unsettling - A Highly Valuable Contribution to Authorship Studies
By CTD
Donna N. Murphy is well known in Marlovian circles – she is a 2010 winner of the Calvin and Rose G. Hoffman Prize for a Distinguished Publication on Christopher Marlowe. She has published numerous scholarly pieces and I myself have published some of her articles on my blog, The Marlowe-Shakespeare Connection. Murphy postulates that not only did Marlowe write many of the works of Shakespeare – an idea that has received quite a bit of press lately due to Ros Barber’s award-winning The Marlowe Papers – but that he sometimes partnered with Thomas Nashe in doing so. Murphy culls word juxtapositions of Marlowe and Shakespeare works and when comparing two sections of text, such as a passage from Romeo and Juliet and a passage from Marlowe’s Hero and Leander, she places these juxtapositions (or “matches”) in bold (and she adds the works of the humorist Nashe into the mix). Certainly, a match here or there doesn’t prove Marlowe (or Marlowe/Nashe) authorship of Shakespeare – but hundreds of matches, some of them quite eerily similar, right before your eyes to see and compare – begs the question: was Shakespeare a serial plagiarist, or did someone else compose the works? Marlovians have long maintained that the Shakespeare canon drowns in Marlowe’s voice and style (Marlowe did pioneer blank verse, for example, which we see in the Shakespeare plays, and many of the thousands of allusions found in the Shakespeare canon are found in Marlowe’s plays, as well), and even the staunchest Stratfordian scholars acknowledge Marlowe’s prodigious influence on Shakespeare (See “The Influence of Marlowe in the Works of Shakespeare” on the website of the International Marlowe-Shakespeare Society). Well, Donna Murphy adds more fuel to the fire . . . she is a meticulous examiner of word juxtapositions and other parallels between Marlowe and Shakespeare and Marlowe/Nashe and Shakespeare. This is serious (and iconoclastic) scholarship and a highly commendable and valuable contribution to authorship studies.
1 of 1 people found the following review helpful.
"...Shakespeare was apparently not just Shakespeare, and Christopher Marlowe and Thomas Nashe were much, much more."
By John Edward Cooper
The Marlowe-Shakespeare Continuum is a surprisingly pleasurable read for an analytical piece about the Shakespeare authorship question. Donna Murphy has, with the precision of a rhetorical surgeon, and with the keenly inquisitive mind of a forensic linguist, used the tools of Matches, Word Clusters, and other devices to create expanding fissures in the Stratfordian Collective unconsciousness. Given her relentless research and her admittedly well-constructed conclusions, the author is surely and steadily helping uncover the biggest cover-up in English literature. Find out what roles the stabbing of the Duke of Guise and the secret of Marlowe's fourth sister play in The Marlowe-Shakespeare Continuum. This book will leave you trembling like an aspen leaf (one of the myriad of images Shakespeare and Marlowe share). A former determined skeptic, I cannot help but concede that Shakespeare was apparently not just Shakespeare, and that Christopher Marlowe and Thomas Nashe were much, much more.
0 of 0 people found the following review helpful.
Fascinating read for scholars and casual readers alike
By Borchien Lai
The Marlowe-Shakespeare Continuum" is a fascinating read not only for Shakespeare scholars but also for any fan of mysteries, conspiracies, or new findings that challenge the status quo. By being the first researcher to propose that Christopher Marlowe often co-authored with Thomas Nashe, Donna Murphy in "Continuum" connects the puzzle pieces that had heretofore seemed to be pieces from entirely different puzzles. In doing so, she forces all scholars and theorists to reexamine past research in a new light that alters the landscape for the entire field. And "Continuum" does not simply assert a blind hypothesis; it is impeccably sourced, drawing on past analyses that support Ms. Murphy's landmark theory, and directly addressing opposing theories by past researchers.
Ms. Murphy primarily supports her theory with a vast and meticulous store of linguistic evidence that she compiled using word queries of her own design. As such, it is a scientific masterpiece that cannot be ignored. But what makes "Continuum" especially appealing is that it also draws on period records to create a fascinating tapestry that portrays not only written words, but also historical events and personal details about key authors, including issues the authors were known to favor, and insights about the knowledge base of each writer. Witness, for example, the enlightening citation to a third party letter observing that Thomas Nashe had confused the 1450 Jack Cade rebellion and the 1580 Jack Straw uprising.
These details close the loops on many arguments and create a rich and compelling narrative that is interesting even for a neophyte in Shakespeare theories.
In short, "Continuum" will force even the most ardent Oxfordians, Stratfordians and Baconians to at least consider the evidence set forth in its pages and provoke further debate and discussion. "Forcing others to think" - sounds like something Christopher Marlowe would have been proud of.
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