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A Deal with the Devil
The legend of the Devil’s contract is the most alluring, the most provocative, the most insightful, the most important story ever told. It concerns a humanity strung between Heaven and Hell, the sa…
The Rose Theatre, where Marlowe’s play premiered in the late sixteenth century, was torn down in 1606 where it would be subsumed beneath layers Jacobean, Interregnum, and Restoration, then Hanoverian, Regency, and Victorian, until Thatcher-era contractors building a soulless corporate office tower uncovered the bottom level of this strata of London history. Making my way past claustrophobic pubs with their bubbled-windows and the dark abyss of their propped-open doors, the greasy fried odor of fish and chip shops and the tinny Brit Pop playing within, I spent the better part of an hour vainly looking for St. Nicholas’s churchyard while nervously eyeing grey skies and the cool wind blowing in off the Thames, for in those days I didn’t avail myself of a smartphone’s convenience. When compared to his contemporary, competitor, and possible colleague William Shakespeare, who four centuries after his death has productions mounted every day, of every year, in every major city on Earth, who is not just a writer but The Bard, the standard by which capital-L Literature is evaluated, Marlowe can seem an afterthought, a footnote, even if he is distantly the second most popular Elizabethan playwright whose work is still performed.
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