Marlowe, like Shakespeare, from an actor became a writer of plays; but though Ben Jonson extolled his "mighty muse," I doubt whether his Edward II., Dr. Faustus, or Jew of Malta, are now widely popular. Anthony Wood has left a very disagreeable picture of Marlowe's character, which one would fain hope is overdrawn; but the dramatist's early death in a low quarrel prevented him from ever redeeming his early offences, as a kinder fortune permitted to his companions in the Stationers' bonfire.
Marston came to be more distinguished for his Satires than for his plays, his Scourge of Villainie being his chief title to fame. Of his Pigmalion all that can be said is, that it is not quite so bad as Marlowe's Elegies. Warton justly says, with pompous euphemism: "His stream of poetry, if sometimes bright and unpolluted, almost always betrays a muddy bottom." But this muddy bottom is discernible, not in Marston alone, but also in Hall's Virgidemiarum, or Satires, of which Warton did all he could to revive the popularity. Hall was Marston's rival at Cambridge, but Hall claims to be the first English satirist. He took Juvenal for his model, but the Latin of Juvenal seems to me far less obscure than the English of Hall. I quote two lines to show what this Cambridge student thought of the great Elizabethan period in which he lived. Referring to some remote golden age, he says:—
"Then men were men; but now the greater part
Beasts are in life, and women are in heart."
But strange are the evolutions of men. The author of the burnt satires rose from dignity to dignity in the Church. He became successively Bishop of Exeter and Bishop of Norwich, and to this day his devotional works are read by thousands who have never heard of his satires. He was sent as a deputy to the famous Synod of Dort, and was faithful to his Church and king through the Civil War. For this in his old age he suffered sequestration and imprisonment, and he lived to see his cathedral turned into a barrack, and his palace into an ale-house, dying shortly before the Restoration, in 1656, at the age of 82. Bayle thought him worthy of a place in his Dictionary, but he is still worthier of a place in our memories as one of those great English bishops who, like Burnet, Butler, or Tillotson, never put their Church before their humanity, but showed (what needed showing) that the Christianity of the clergy was not of necessity synonymous with the absolute negation of charity.
Davies, too, Marlowe's early friend, rose to fame both as a poet and a statesman. But he began badly. He was disbarred from the Middle Temple for breaking a club over the head of another law student in the very dining-hall. After that he became member for Corfe Castle, and then successively Solicitor-General and Attorney-General for Ireland. He was knighted in 1607. One of the best books on that unhappy country is his Discovery of the true causes why Ireland was never entirely subdued, nor brought under obedience of the Crown of England until the beginning of Her Majesty's happy reign (1611), dedicated to James I. His chief poems are his Nosce Teipsum and The Orchestra. In 1614 he was elected for Newcastle-under-Lyme, and he died in 1626, aged only 57. Yet in that time he had travelled a long way from the days of his early literary companionship with Christopher Marlowe.
The Church at the end of the sixteenth century assuredly aimed high. At the time the above books were burnt, it was decreed that no satires or epigrams should be printed in the future; and that no plays should be printed without the inspection and permission of the Archbishop of Canterbury and the Bishop of London! But even this is nothing compared with that later attempt to subject the Press to the Church which called forth Milton's Areopagitica; there indeed soon came to be very little to choose between the Inquisition of the High Commission and the more noxious Inquisition of Rome.
Near to the burnt works of the previous writers must be placed those of that prolific writer of the same period, Samuel Rowlands. The severity of his satire, and the obviousness of the allusions, caused two of his works to be burnt, first publicly, and then in the hall kitchen of the Stationers' Company, in October 1600. These were: The Letting Humour's Blood in the Headvein, and, A Merry Meeting; or, 'tis Merry when Knaves meet; both of which subsequently reappeared under the titles respectively of Humour's Ordinarie, where a man may be verie merrie and exceeding well used for his sixpence, and the Knave of Clubs. Either work would now cost much more than sixpence, and probably fail to make the reader very merry, or even merry at all. One of the epigrams, however, of the first work may be quoted as of more than ephemeral truth and interest:—
"Who seeks to please all men each way,
And not himself offend,
He may begin his work to-day,
But God knows when he'll end."
Little appears to be known of Rowlands, but, like Bishop Hall, he could turn his pen to various purposes with great facility; for the prayers which he is thought to have composed, and which are published with the rest of his works in the admirable edition of 1870, are of as high an order of merit as the religious works of his more famous contemporary.
The only wonder is that the Archbishop did not enforce the burning of much more of the literature of the Elizabethan period, whilst he was engaged on such a crusade. He may well, however, have shrunk appalled from the magnitude of the task, and have thought it better to touch the margin than do nothing at all. And, after all, in those days a poet was lucky if they only burnt his poems, and not himself as well. In 1619 John Williams, barrister, was actually hanged, drawn, and quartered, for two poems which were not even printed, but which exist in manuscript at Cambridge to this day. These were Balaam's Ass and the Speculum Regale. Williams was indiscreet enough to predict the King's death in 1621, and to send the poems secretly to his Majesty in a box. The odd thing is that he thought himself justly punished for his foolish freak, so very peculiar were men's notions of justice in those far-off barbarous days.
