Cut is the branch that might have grown full straight,
And burned is Apollo's laurel bough
That sometime grew within this learnéd man.
Marlowe's Works. In addition to the poem "Hero and Leander," to which we have referred,[140] Marlowe is famous for four dramas, now known as the Marlowesque or one-man type of tragedy, each revolving about one central personality who is consumed by the lust of power. The first of these is Tamburlaine, the story of Timur the Tartar. Timur begins as a shepherd chief, who first rebels and then triumphs over the Persian king. Intoxicated by his success, Timur rushes like a tempest over the whole East. Seated on his chariot drawn by captive kings, with a caged emperor before him, he boasts of his power which overrides all things. Then, afflicted with disease, he raves against the gods and would overthrow them as he has overthrown earthly rulers. Tamburlaine is an epic rather than a drama; but one can understand its instant success with a people only half civilized, fond of military glory, and the instant adoption of its "mighty line" as the instrument of all dramatic expression.
FaustusFaustus, the second play, is one of the best of Marlowe's works.[141] The story is that of a scholar who longs for infinite knowledge, and who turns from Theology, Philosophy, Medicine, and Law, the four sciences of the time, to the study of magic, much as a child might turn from jewels to tinsel and colored paper. In order to learn magic he sells himself to the devil, on condition that he shall have twenty-four years of absolute power and knowledge. The play is the story of those twenty-four years. Like Tamburlaine, it is lacking in dramatic construction,[142] but has an unusual number of passages of rare poetic beauty. Milton's Satan suggests strongly that the author of Paradise Lost had access to Faustus and used it, as he may also have used Tamburlaine, for the magnificent panorama displayed by Satan in Paradise Regained. For instance, more than fifty years before Milton's hero says, "Which way I turn is hell, myself am hell," Marlowe had written:
Faust. How comes it then that thou art out of hell?
Mephisto. Why this is hell, nor am I out of it.
Hell hath no limits, nor is circumscribed
In one self place; for where we are is hell,
And where hell is there must we ever be.
Marlowe's third play is The Jew of Malta, a study of the lust for wealth, which centers about Barabas, a terrible old money lender, strongly suggestive of Shylock in The Merchant of Venice. The first part of the play is well constructed, showing a decided advance, but the last part is an accumulation of melodramatic horrors. Barabas is checked in his murderous career by falling into a boiling caldron which he had prepared for another, and dies blaspheming, his only regret being that he has not done more evil in his life.
Marlowe's last play is Edward II, a tragic study of a king's weakness and misery. In point of style and dramatic construction, it is by far the best of Marlowe's plays, and is a worthy predecessor of Shakespeare's historical drama.
Marlowe and ShakespeareMarlowe is the only dramatist of the time who is ever compared with Shakespeare.[143] When we remember that he died at twenty-nine, probably before Shakespeare had produced a single great play, we must wonder what he might have done had he outlived his wretched youth and become a man. Here and there his work is remarkable for its splendid imagination, for the stateliness of its verse, and for its rare bits of poetic beauty; but in dramatic instinct, in wide knowledge of human life, in humor, in delineation of woman's character, in the delicate fancy which presents an Ariel as perfectly as a Macbeth,--in a word, in all that makes a dramatic genius, Shakespeare stands alone. Marlowe simply prepared the way for the master who was to follow.
Variety of the Early Drama. The thirty years between our first regular English plays and Shakespeare's first comedy[144] witnessed a development of the drama which astonishes us both by its rapidity and variety. We shall better appreciate Shakespeare's work if we glance for a moment at the plays that preceded him, and note how he covers the whole field and writes almost every form and variety of the drama known to his age.
Types of DramaFirst in importance, or at least in popular interest, are the new Chronicle plays, founded upon historical events and characters. They show the strong national spirit of the Elizabethan Age, and their popularity was due largely to the fact that audiences came to the theaters partly to gratify their awakened national spirit and to get their first knowledge of national history. Some of the Moralities, like Bayle's King Johan (1538), are crude Chronicle plays, and the early Robin Hood plays and the first tragedy, Gorboduc, show the same awakened popular interest in English history. During the reign of Elizabeth the popular Chronicle plays increased till we have the record of over two hundred and twenty, half of which are still extant, dealing with almost every important character, real or legendary, in English history. Of Shakespeare's thirty-seven dramas, ten are true Chronicle plays of English kings; three are from the legendary annals of Britain; and three more are from the history of other nations.
Other types of the early drama are less clearly defined, but we may sum them up under a few general heads: (1) The Domestic Drama began with crude home scenes introduced into the Miracles and developed in a score of different ways, from the coarse humor of Gammer Gurton's Needle to the Comedy of Manners of Jonson and the later dramatists. Shakespeare's Taming of the Shrew and Merry Wives of Windsor belong to this class. (2) The so-called Court Comedy is the opposite of the former in that it represented a different kind of life and was intended for a different audience. It was marked by elaborate dialogue, by jests, retorts, and endless plays on words, rather than by action. It was made popular by Lyly's success, and was imitated in Shakespeare's first or "Lylian" comedies, such as Love's Labour's Lost, and the complicated Two Gentlemen of Verona. (3) Romantic Comedy and Romantic Tragedy suggest the most artistic and finished types of the drama, which were experimented upon by Peele, Greene, and Marlowe, and were brought to perfection in The Merchant of Venice, Romeo and Juliet, and The Tempest. (4) In addition to the above types were several others,--the Classical Plays, modeled upon Seneca and favored by cultivated audiences; the Melodrama, favorite of the groundlings, which depended not on plot or characters but upon a variety of striking scenes and incidents; and the Tragedy of Blood, always more or less melodramatic, like Kyd's Spanish Tragedy, which grew more blood-and-thundery in Marlowe and reached a climax of horrors in Shakespeare's Titus Andronicus. It is noteworthy that Hamlet, Lear, and Macbeth all belong to this class, but the developed genius of the author raised them to a height such as the Tragedy of Blood had never known before.