Diversity in the
by Len Bourret (Copyright
My response to Christopher
It lies within our power to
love or hate,
for will in us is not overruled by fate.
When two are
stripped, long or short
ere the course ends or begins.
We wish that one
should lose, while
the other wins.
And one, especially, do we
Appearing to be the same, they are
not both ingots--but quite
For reasons each man knows, buried
denial, and not suffice.
What we behold is
censured by our eyes.
Both are deliberate choices: love is like the
and hate is like the night.
There is great diversity in the
We choose to love or hate--but do not act,
upon first sight.
Who Ever Loved, That Loved
Not At First Sight?
Marlowe (1564 - 1593)
It lies not in our power to love or hate,
For will in us is overruled by fate.
When two are stripped, long ere the course begin,
We wish that one should love, the other win;
And one especially do we affect
Of two gold ingots, like in each respect:
The reason no man knows, let it suffice,
What we behold is censured by our eyes.
Where both deliberate, the love is slight:
Who ever loved, that loved not at first sight?
The most famous tribute to Marlowe was paid by Shakespeare in
As You Like It, where he not only quotes a line from Hero and Leander
(Dead Shepherd, now I find thy saw of might, "Who ever loved that loved not at
first sight?") but also gives to the clown Touchstone the words "When a man's
verses cannot be understood, nor a man's good wit seconded with the forward
child, understanding, it strikes a man more dead than a great reckoning in a
little room." This appears to be a reference to Marlowe's murder (which
involved a fight over the 'reckoning' - the bill). Shakespeare was indeed very
influenced by Marlowe in his early work as can be seen in the re-using of
Marlowe themes in Anthony and Cleopatra, The Merchant Of Venice, Richard II,
and Macbeth (Dido, Jew of Malta, Edward II and Dr Faustus respectively). Indeed
in Hamlet, after meeting with the travelling actors, Hamlet starts discussing
Dido, Queen of Carthage and quoting from it. As this was Marlowe's only play
not to have been played in the public theatre we can see that Shakespeare was
quite the Marlovian scholar. Indeed in Love's Labour's Lost, echoing Marlowe's
The Massacre at Paris, Shakespeare brings on a character called Marcade (French
for Mercury - the messenger of the Gods - a nickname Marlowe bestowed upon
himself) who arrives to 'interrupt'st' the 'merriment' with news of the King's
death. A fitting tribute for one who delighted in destruction in his
Complete Works of Christopher
Given the murky inconsistencies concerning the account of
Marlowe's death, an ongoing conspiracy theory has arisen centred on the notion
that Marlowe may have faked his death and then continued to write under the
assumed name of William Shakespeare. Authors who have propounded this theory