Christopher Marlowe Quote

We which were Ovids five books, now are three,For these before the rest preferreth he:If reading five thou plainst of tediousnesse,Two tane away, thy labor will be lesse:With Muse upreard I meant to sing of armes,Choosing a subject fit for feirse alarmes:Both verses were alike till Love (men say)Began to smile and tooke one foote away.Rash boy, who gave thee power to change a line?We are the Muses prophets, none of thine.What if thy Mother take Dianas bowe,Shall Dian fanne when love begins to glowe?In wooddie groves ist meete that Ceres Raigne,And quiver bearing Dian till the plaine:Who'le set the faire treste sunne in battell ray,While Mars doth take the Aonian harpe to play?Great are thy kingdomes, over strong and large,Ambitious Imp, why seekst thou further charge?Are all things thine? the Muses Tempe thine?Then scarse can Phoebus say, this harpe is mine.When in this workes first verse I trod aloft,Love slackt my Muse, and made my numbers soft.I have no mistris, nor no favorit,Being fittest matter for a wanton wit,Thus I complaind, but Love unlockt his quiver,Tooke out the shaft, ordaind my hart to shiver:And bent his sinewy bow upon his knee,Saying, Poet heers a worke beseeming thee.Oh woe is me, he never shootes but hits,I burne, love in my idle bosome sits.Let my first verse be sixe, my last five feete,Fare well sterne warre, for blunter Poets meete.Elegian Muse, that warblest amorous laies,Girt my shine browe with sea banke mirtle praise.-- P. Ovidii Nasonis AmorumLiber PrimusELEGIA 1(Quemadmodum a Cupidine, pro bellis amores scribere coactus sit)

Christopher Marlowe

We which were Ovids five books, now are three,For these before the rest preferreth he:If reading five thou plainst of tediousnesse,Two tane away, thy labor will be lesse:With Muse upreard I meant to sing of armes,Choosing a subject fit for feirse alarmes:Both verses were alike till Love (men say)Began to smile and tooke one foote away.Rash boy, who gave thee power to change a line?We are the Muses prophets, none of thine.What if thy Mother take Dianas bowe,Shall Dian fanne when love begins to glowe?In wooddie groves ist meete that Ceres Raigne,And quiver bearing Dian till the plaine:Who'le set the faire treste sunne in battell ray,While Mars doth take the Aonian harpe to play?Great are thy kingdomes, over strong and large,Ambitious Imp, why seekst thou further charge?Are all things thine? the Muses Tempe thine?Then scarse can Phoebus say, this harpe is mine.When in this workes first verse I trod aloft,Love slackt my Muse, and made my numbers soft.I have no mistris, nor no favorit,Being fittest matter for a wanton wit,Thus I complaind, but Love unlockt his quiver,Tooke out the shaft, ordaind my hart to shiver:And bent his sinewy bow upon his knee,Saying, Poet heers a worke beseeming thee.Oh woe is me, he never shootes but hits,I burne, love in my idle bosome sits.Let my first verse be sixe, my last five feete,Fare well sterne warre, for blunter Poets meete.Elegian Muse, that warblest amorous laies,Girt my shine browe with sea banke mirtle praise.-- P. Ovidii Nasonis AmorumLiber PrimusELEGIA 1(Quemadmodum a Cupidine, pro bellis amores scribere coactus sit)

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About Christopher Marlowe

Christopher Marlowe, also known as Kit Marlowe (; baptised 26 February 1564 – 30 May 1593), was an English playwright, poet, and translator of the Elizabethan era. Marlowe is among the most famous of the Elizabethan playwrights. Based upon the "many imitations" of his play Tamburlaine, modern scholars consider him to have been the foremost dramatist in London in the years just before his mysterious early death. Some scholars also believe that he greatly influenced William Shakespeare, who was baptised in the same year as Marlowe and later succeeded him as the preeminent Elizabethan playwright. Marlowe was the first to achieve critical reputation for his use of blank verse, which became the standard for the era. His plays are distinguished by their overreaching protagonists. Themes found within Marlowe's literary works have been noted as humanistic with realistic emotions, which some scholars find difficult to reconcile with Marlowe's "anti-intellectualism" and his catering to the prurient tastes of his Elizabethan audiences for generous displays of extreme physical violence, cruelty, and bloodshed.
Events in Marlowe's life were sometimes as extreme as those found in his plays. Differing sensational reports of Marlowe's death in 1593 abounded after the event and are contested by scholars today owing to a lack of good documentation. There have been many conjectures as to the nature and reason for his death, including a vicious bar-room fight, blasphemous libel against the church, homosexual intrigue, betrayal by another playwright, and espionage from the highest level: the Privy Council of Elizabeth I. An official coroner's account of Marlowe's death was discovered only in 1925, and it did little to persuade all scholars that it told the whole story, nor did it eliminate the uncertainties present in his biography.