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Engaged as I am, at the moment of writing this article, in preparing to stage Edward II for the Bristol Old Vic Theatre School, my thoughts are more immediately concerned with the problems that the texts of Marlowe's plays present to the actor than with those that they pose for the historian or the critic.An actor wants to know from where and how he makes his entrance; where and how he is to make his exit. Confronted with the stage direction “Exeunt to the cave” or “Enter from the cave, Aeneas and Dido,” what the actor and actress want to know is where this cave is located on the stage, what sort of a cave it is, how wide the opening and how much head-room, whether it is equipped with a door or sliding panel, and so on.

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