Notes and Queries, Number 53, November 2, 1850

I think I have observed that the claims of Marlowe have been maintained with something very like party spirit. I have seen latterly several indications of this, unmistakeable, though expressed, perhaps, but by a single word. Now it is true both Mr. Collier and Mr. Dyce are committed to a positive opinion on this subject; and it would be unreasonable to expect either of those gentlemen to change their views, except with the fullest proof and after the maturest consideration. But who, besides these, is interested in maintaining the precedence of Marlowe? These remarks have been called forth by an article in the Athenæum , containing the following passages:—
All Marlowe's works were produced prior, we may safely assert, to the appearance of Shakspeare as a writer for the stage , or as an author, in print. It is now universally admitted among competent critics, that Shakspeare commenced his career as a dramatic author, by remodelling certain pieces written either separately or conjointly by Greene, Marlowe, Lodge, and Peele.
An anonymous writer commits himself to nothing, and I should not have noticed the above but that they illustrate my position. In the passage first cited, if the writer mean as a writer for the stage in print , it proves nothing; but if the words in print are not intended to be so connected, the assertion cannot be proved, and many competent critics will tell him it is most improbable. The assertion of the second quotation is simply untrue; Mr. Knight has not admitted what is stated therein, and if I recollect right, an Edinburgh Reviewer has concurred with him in judgment. Neither of these, I presume, will be called incompetent. I cannot suppose that either assertion would have been made but for the spirit to which I have alluded; for no cause was ever the better for allegations that could not be maintained.
In some former papers which you did me the honour to publish, I gave it incidentally as my opinion that Marlowe was the author of the Taming of a Shrew . I have since learned, through Mr. Halliwell, that Mr. Dyce is confident, from the style, that he was not. Had I the opportunity, I might ask Mr. Dyce which style? That of the passages I cited as being identical with passages in Marlowe's acknowledged plays will not, I presume, be disputed; and of that of such scenes as the one between Sander and the tailor, I am as confident as Mr. Dyce; it is the style rather of Shakspeare than Marlowe. In other respects, I learn that the kind of evidence that is considered by Mr. Dyce good to sustain the claim of Marlowe to the authorship of the Contention and the True Tragedy , is not admissible in support of his claim to the Taming of a Shrew . I shall take another opportunity of showing that the very passages cited by Mr. Dyce from the two first-named of these plays will support my view of the case, at least as well as his; doing no more now than simply recording an opinion that Marlowe was a follower and imitator of Shakspeare. I do not know that I am at present in a position to maintain this opinion by argument; but I can, at all events, show on what exceedingly slight grounds the contrary opinion has been founded.