Not less than in 'Volpone,' the tendency of 'Hamlet' as regards religious questions is, in the most evident manner, ridiculed in John Marston's 'Malcontent.' Although this satire (so the play is called in the preface 'To the Reader') appeared before 'Volpone,' we yet thought it more useful first to speak of Jonson's comedy being the work of Shakspere's most formidable adversary.
'The Malcontent' was printed in 1604; and soon afterwards (in the same year) a second edition appeared, augmented by the author, as well as enriched by a few additions from the pen of John Webster. [49] The play is preceded by a Latin Dedication to Ben Jonson, which sufficiently shows that a close friendship must have existed, at that time, between the two. [50] The satire is replete with phrases taken from 'Hamlet' for the purpose of mockery; and they are introduced in the loosest, most disconnected manner, thus doubly showing the intention and purpose. Marston's style is pointedly described in 'The Return from Parnassus;' and we do not hesitate to say that the following criticism was written in consequence of his 'Malcontent:'—
Methinks he is a ruffian in his style,
Withouten bands or garters' ornament:
He quaffs a cup of Frenchman's [51] Helicon,
Then roister doister in his oily terms,
Cuts, thrusts, and foins at whomsoever he meets…
Tut, what cares he for modest close-couch'd terms,
Cleanly to gird our looser libertines?…
Ay, there is one, that backs a paper steed,
And manageth a penknife gallantly,
Strikes his poinardo at a button's breadth,
Brings the great battering-ram of terms to towns;
And, at first volley of his cannon-shot,
Batters the walls of the old fusty world.
Who else can be indicated by the 'One' but Shakspere? To Marston's hollow creations, which drag the loftiest ideas through the mire to amuse the vulgar, the sublime and serious discourses of Shakspere are opposed, which are destined to afford profoundest instruction. Is not the whole tendency of 'Hamlet' described in the last two lines just quoted, in which it is stated that under this poet's attack the walls of the old fusty world are battered down? [52]
The chief character in 'The Malcontent' is a Duke of Genoa. Marston, in his preface 'To the Reader,' lays stress on the fact of this Duke being, not an historical personage, but a creation of fiction, so 'that even strangers, in whose State I laid my scene, should not from thence draw any disgrace to any, dead or living.' After having complained that, in spite of this endeavour of his, there are some who have been 'most unadvisedly over-cunning in misinterpreting' him, and, 'with subtletie, have maliciously spread ill rumours,' he goes on declaring that he desires 'to satisfie every firme spirit, who in all his actions proposeth to himself no more ends then God and vertue do, whose intentions are alwaies simple.' Those only he means to combat 'whose unquiet studies labor innovation, contempt of holy policie, reverent comely superioritie and establisht unity.' He fears not for the rest of his 'supposed tartnesse; but unto every worthy minde it will be approved so generall and honest as may modestly passe with the freedome of a satyre.'
That this satire could only be directed against 'Hamlet,' every one will be convinced who spends a short hour in reading Marston's 'Malcontent.' Here, too, we must confine ourselves to pointing out only the most important allusions; especially such as refer to religion. Indeed, we would have to copy the whole play, in order to make it fully clear how much Marston, with his undoubted talent for travesty, has succeeded in grotesquely deriding the lofty, noble tone of Shakspere's drama.
The chief character in 'The Malcontent' is Malevole, the Duke of Genoa before-mentioned, who has been wrongfully deprived of the crown. With subtle dissimulation, disguised and unknown, he hangs about the Court. Against the ladies especially, whom he all holds to be adulteresses, he entertains the greatest mistrust. He watches every one; but most closely women. He is the image of mental distemper; and Pietro, the ruling Duke, describes him in act i. sc. 2 by saying that 'the elements struggle within him; his own soule is at variance within her selfe;' he is 'more discontent than Lucifer.' In short, he confers upon him all the qualities of a 'Hamlet' character.
Whenever religious questions are addressed to Malevole, we have to look upon him as the very type of Shakspere himself, whom Marston takes to task for his spirit of 'innovation' and his 'contempt of holy policie and establisht unity.' Shakspere, it ought to be remembered, had scourged Ben Jonson under the figure of Malvolio. Marston, who dedicates 'The Malcontent' to Jonson, no doubt wished to please Jonson by calling the chief character, which represents Shakspere, Malevole.
The play opens with an abominable charivari. ('The vilest out-of-time musicke being heard.') This is partly a hit against the Globe Theatre where—as we see from Shakspere's dramas—music was often introduced in a play; partly it is to indicate the disharmony of Malevole's mind.
Only a few travesties may be mentioned here, before we quote the treatment of religious questions.