ABSTRACT
This conclusion presents an overview of key concepts discussed in the preceding chapters of this book. The book presents a number of works about Christopher Marlowe. There are problems over the relationship between doubling and narrative, the gender status of boy performers, the discourse of star actors within the meaning of plays. Adopting a slightly different approach, Philip Henderson maintains that it is the dramatist and not the critic who is incapable of ending. He protests that Marlowe's dramatic designs are too ambitious and too philosophical to enable completion. Only Emily Bartels appears confident of providing the last word on the dramatist and ironically this is because the word itself is divided and fragmentary. Hence Bartels draws her study to its close with the conclusion that Marlowe's works are united by a common notion of selfhood as disunified.
