Below you will find Ovid's Amores, translated by Christopher Marlowe while he was at Cambridge. You might want to read the following comments by A.D. Wraight before going on to the elegies, since two of the several reasons she gives for Marlowe's authorship of Edward the Third are related to what he learned from Ovid:

"We find several examples of Marlowe’s stylistic idiosyncrasies [in Edward the Third]. His distinctive use of double-barrelled adjectives, first developed in his translation of Lucan and Ovid, are here superbly represented in the ‘iron-hearted navies’ and the ‘through-shot planks’, and King John’s dramatic ‘mirror of pale death’, an association of imagery that is typical of Marlowe."

While Wraight analyzes the writing style in the scene where Edward instructs his courtier to compose a poem that will move the countess to respond to his passionate love for her, she says that Marlowe's repetitive use of

" . . . words and imagery in building up a climax, so effectively used in Tamburlaine, is a trick he learned from Ovid, and is one of his most characteristic traits. In translating Ovid’s Amores at Cambridge he had repeatedly written such lines as:

Accept him that will serve thee all his youth
Accept him that will love with spotless truth,

. . . . .

And she to whom in shape of swan Jove came,
And she that on a feign’d bull swam to land . . ."

Wraight points out that in Edward the Third this repetition is most striking in the scene where King Edward must show the poet how to write love poetry. The scene ends:

And let me have her likened to the sun;
Say she hath thrice more splendour than the sun,
That her perfections emulate the sun,
That she breed sweets as plenteous as the sun,
That she doth thaw cold winter like the sun,
That she doth cheer fresh summer like the sun,
That she doth dazzle gazers like the sun;
And, in this application to the sun,
Bid her be free and general as the sun,
Who smiles upon the basest weed that grows
As lovingly as on the fragrant rose.

Act II Scene 1, 11.140-165