by dint of brains and energy, moved to Cambridge, where he distinguished himself in Latin learning, found himself recruited into a network of intelligence officers for Queen Elizabeth, and then, at age 29, was mysteriously murdered in a bar fight. At the heart of Greenblatt’s book, though, is not just a familiar story but a new argument: that it was really Marlowe, rather than Shakespeare, who lit the flame under the literary Renaissance of Elizabethan England and, furthermore, that it was Marlowe’s brilliant schooling (rather than any lived experience) that fed his verbal imagination. Acting and action were everywhere in Marlowe’s world, and Greenblatt implies that it was his work as a spy that gave him an added sense of what it meant to perform. Marlowe “entered a world in which virtually everyone was in disguise, and it was fantastically difficult to know whom to trust. These professional role\u002Dplayers, operatives supremely gifted at inspiring confidence, whispered what one most hoped to hear and made one want to relax, open up, and reveal the truth.” Greenblatt is describing the world of Elizabethan espionage, but he could well be talking about the power of the theater to make us open up, relax, and reveal the truth. In the end, Marlowe “made it possible to write in a new way about violence, ambition, greed, and desire. He offered poetic liberation.” In his hands, “the expressive power of the English language took a great leap forward.” In Greenblatt’s hands, literary scholarship, too, has taken a great leap forward."⭐ 4.2/5(111)
