Christopher Marlowe's unfinished poem, Hero and Leander, is a celebrated piece of Elizabethan literature. Completed posthumously by George Chapman, this brief epic captivated readers, including William Shakespeare. Marlowe's work stands out for its rich sensuality and humor, leaving a lasting impression on English literary tradition.

Marlowe's Unfinished Vision

Marlowe's untimely death left Hero and Leander incomplete, but its influence was already far-reaching. George Chapman, a fellow dramatist, took on the challenge of completing the poem, though his style diverged significantly from Marlowe's exuberant tone. This discussion focuses solely on Marlowe's contributions, which comprise the first two sestiads of this renowned work.

A Brief Epic and Its Influence

The poem is a prime example of the Elizabethan "brief epic" genre and circulated in manuscript form before its eventual publication. It undoubtedly caught the attention of William Shakespeare, inspiring his own work, Venus and Adonis, and echoing throughout his plays. The "brief epic" often drew on Ovid’s Metamorphoses, featuring mythological and erotic themes. Though Hero and Leander shares Ovidian traits, its origin lies in a later rendition of the myth by Musaeus. Marlowe's departure from the moralizing trend common among his contemporaries marked a distinct approach to the genre.

Exuberant Sensuality and Comic Elements

Marlowe's Hero and Leander is vibrant with sensual delight and comedy. In the narrative, Leander falls for the enchanting Hero and immediately seeks to win her affection. He employs the arguments of Renaissance naturalism, suggesting that virginity is intangible and thus not worth conserving or honoring. This reasoning, presented with wit and daring, would only seem plausible to someone as innocent as Hero. Marlowe's playful rhymes anticipate the humor found in Lord Byron’s Don Juan: “At last, like to a bold sharp sophister,/ With cheerful hope he thus accosted her.” Additionally, the theme of youth and beauty's squandered potential, explored in Shakespeare's Venus and Adonis and sonnets, is also present in Marlowe's poem.

Comic Understatement and Mock-Heroic Imagery

Leander's prowess in persuasion does not extend to the actual art of love, where he remains naive. In a humorous scene, his interaction with Hero is likened to a sibling relationship, as he innocently misses the full scope of romantic engagement: "Supposing nothing else was to be done"—“yet he suspected/ Some amorous rites or other were neglected.” Despite his clumsy attempts, Hero successfully maintains her chastity until morning. When Leander returns home, the narrator wryly notes his father's awareness of his nocturnal escapade: “His secret flame apparently was seen,/ Leander’s father knew where he had been.” The poem's mock-heroic tone is further enhanced by Leander's attempt to touch Hero’s bosom, humorously likened to a soldier laying siege to a fortress.

Leander's Encounter with Neptune

Another entertaining episode involves Leander's swim across the Hellespont to reach Hero, only to be nearly thwarted by Neptune's infatuation. Mistaking Leander for Jove’s page Ganymede, Neptune’s advances culminate in a comedic yet sensuous scene of homoerotic misunderstanding. Leander insists he is no woman, while the experienced Neptune simply smiles at his innocence. This is not the poem's first exploration of homoerotic themes; Leander's beauty is vividly detailed from the perspective of the male narrator and other male onlookers.

A World of Sensual Imagery

Throughout the poem, Marlowe paints a world brimming with sensual imagery. Leander's allure surpasses that of Narcissus, the mythic figure enamored with his own reflection. Hero, a devotee of Venus, frequents a temple adorned with lavish details, emphasizing her beauty with pebble-like chains that rival the sparkle of diamonds. This vivid, intoxicating imagery underscores the poem's enduring appeal.