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The article presents a literary criticism and philological analysis of Christopher Marlowe's 16th century rendition of the fable of "Hero and Leander," outlining its literary style and devices. The significance of the work within greater English literature is reviewed. An in-depth analysis is also offered concerning Marlowe's literary imitation of the Greek writer Musaeus as taken from grammar school editions of the legend.

A remarkable fact about William Shakespeare's The Tempest is that characters do not always see or hear the same thing. But while this estrangement of knowledge thins out the boundaries between character and environment to recognizably great dramatic effect, the aporetic energies underlying that estrangement are not yet fully understood. This article explores their significance by examining the connections between The Tempest and Michel de Montaigne's An Apologie of Raymond Sebond (long suspected to be related). It proposes a new verbal parallel between the play and the essay but does not confine its argument to such a criterion. Rather, it is a case study in the Renaissance practice of imitation that works from a number of aspects—shared matrices of thought and feeling, similar metaphors, networks of texts—to reconstruct the presence of a locus classicus of Renaissance skepticism in Shakespeare's late play. Along the way, it triangulates these works with a discussion of King Lear and examines the presence of Vergil and the possible presence of Seneca. It argues that Shakespeare used Montaigne's essay to make his island epistemologically strange and that this sensitive use of a philosophical source is notable for being so deeply dramatically embedded. [ABSTRACT FROM AUTHOR]