32- ) English Literature

32- ) English Literature

Last years and literary career.

After 1587 Marlowe was in London, writing for the theatres, occasionally getting into trouble with the authorities because of his violent and disreputable behaviour, and probably also engaging himself from time to time in government service. Marlowe won a dangerous reputation for “atheism,” but this could, in Elizabeth I’s time, indicate merely unorthodox religious opinions. In Robert Greene’s deathbed tract, Greenes groats-worth of witte, Marlowe is referred to as a “famous gracer of Tragedians” and is reproved for having said, like Greene himself, “There is no god” and for having studied “pestilent Machiuilian pollicie.” There is further evidence of his unorthodoxy, notably in the denunciation of him written by the spy Richard Baines and in the letter of Thomas Kyd to the lord keeper in 1593 after Marlowe’s death. Kyd alleged that certain papers “denying the deity of Jesus Christ” that were found in his room belonged to Marlowe, who had shared the room two years before. Both Baines and Kyd suggested on Marlowe’s part atheism in the stricter sense and a persistent delight in blasphemy. Whatever the case may be, on May 18, 1593, the Privy Council issued an order for Marlowe’s arrest; two days later the poet was ordered to give daily attendance on their lordships “until he shall be licensed to the contrary.” On May 30, however, Marlowe was killed by Ingram Frizer, in the dubious company of Nicholas Skeres and Robert Poley, at a lodging house in Deptford, where they had spent most of the day and where, it was alleged, a fight broke out between them over the bill.

In a playwriting career that spanned little more than six years, Marlowe’s achievements were diverse and splendid. Perhaps before leaving Cambridge he had already written Tamburlaine the Great (in two parts, both performed by the end of 1587; published 1590). Almost certainly during his later Cambridge years, Marlowe had translated Ovid’s Amores (The Loves) and the first book of Lucan’s Pharsalia from the Latin. About this time he also wrote the play Dido, Queen of Carthage (published in 1594 as the joint work of Marlowe and Thomas Nashe). With the production of Tamburlaine he received recognition and acclaim, and playwriting became his major concern in the few years that lay ahead. Both parts of Tamburlaine were published anonymously in 1590, and the publisher omitted certain passages that he found incongruous with the play’s serious concern with history; even so, the extant Tamburlaine text can be regarded as substantially Marlowe’s. No other of his plays or poems or translations was published during his life. His unfinished but splendid poem Hero and Leander—which is almost certainly the finest nondramatic Elizabethan poem apart from those produced by Edmund Spenser—appeared in 1598.

There is argument among scholars concerning the order in which the plays subsequent to Tamburlaine were written. It is not uncommonly held that Faustus quickly followed Tamburlaine and that then Marlowe turned to a more neutral, more “social” kind of writing in Edward II and The Massacre at Paris. His last play may have been The Jew of Malta, in which he signally broke new ground. It is known that Tamburlaine, Faustus, and The Jew of Malta were performed by the Admiral’s Men, a company whose outstanding actor was Edward Alleyn, who most certainly played Tamburlaine, Faustus, and Barabas the Jew.

Literary career

Edward Alleyn, lead actor of Lord Strange's Men was possibly the first to play the title characters in Doctor Faustus, Tamburlaine, and The Jew of Malta.

Edward Alleyn, lead actor of Lord Strange's Men was possibly the first to play the title characters in Doctor Faustus, Tamburlaine, and The Jew of Malta.

Works. of Christopher Marlowe

In the earliest of Marlowe’s plays, the two-part Tamburlaine the Great (c. 1587; published 1590), Marlowe’s characteristic “mighty line” (as Ben Jonson called it) established blank verse as the staple medium for later Elizabethan and Jacobean dramatic writing. It appears that originally Marlowe intended to write only the first part, concluding with Tamburlaine’s marriage to Zenocrate and his making “truce with all the world.” But the popularity of the first part encouraged Marlowe to continue the story to Tamburlaine’s death. This gave him some difficulty, as he had almost exhausted his historical sources in part I; consequently the sequel has, at first glance, an appearance of padding. Yet the effort demanded in writing the continuation made the young playwright look more coldly and searchingly at the hero he had chosen, and thus part II makes explicit certain notions that were below the surface and insufficiently recognized by the dramatist in part I.

The play is based on the life and achievements of Timur (Timurlenk), the bloody 14th-century conqueror of Central Asia and India. Tamburlaine is a man avid for power and luxury and the possession of beauty: at the beginning of part I he is only an obscure Scythian shepherd, but he wins the crown of Persia by eloquence and bravery and a readiness to discard loyalty. He then conquers Bajazeth, emperor of Turkey, he puts the town of Damascus to the sword, and he conquers the sultan of Egypt; but, at the pleas of the sultan’s daughter Zenocrate, the captive whom he loves, he spares him and makes truce. In part II Tamburlaine’s conquests are further extended; whenever he fights a battle, he must win, even when his last illness is upon him. But Zenocrate dies, and their three sons provide a manifestly imperfect means for ensuring the preservation of his wide dominions; he kills Calyphas, one of these sons, when he refuses to follow his father into battle. Always, too, there are more battles to fight: when for a moment he has no immediate opponent on earth, he dreams of leading his army against the powers of heaven, though at other times he glories in seeing himself as “the scourge of God”; he burns the Qurʾān, for he will have no intermediary between God and himself, and there is a hint of doubt whether even God is to be granted recognition. Certainly Marlowe feels sympathy with his hero, giving him magnificent verse to speak, delighting in his dreams of power and of the possession of beauty, as seen in the following of Tamburlaine’s lines:

Nature, that fram’d us of four elements

Warring within our breasts for regiment,

Doth teach us all to have aspiring minds:

Our souls, whose faculties can comprehend

The wondrous architecture of the world,

And measure every wandering planet’s course,

Still climbing after knowledge infinite,

And always moving as the restless spheres,

Wills us to wear ourselves and never rest,

Until we reach the ripest fruit of all,

That perfect bliss and sole felicity,

The sweet fruition of an earthly crown.

But, especially in part II, there are other strains: the hero can be absurd in his continual striving for more demonstrations of his power; his cruelty, which is extreme, becomes sickening; his human weakness is increasingly underlined, most notably in the onset of his fatal illness immediately after his arrogant burning of the Qurʾān. In this early play Marlowe already shows the ability to view a tragic hero from more than one angle, achieving a simultaneous vision of grandeur and impotence.

Marlowe’s most famous play is The Tragicall History of Dr. Faustus; but it has survived only in a corrupt form, and its date of composition has been much-disputed. It was first published in 1604, and another version appeared in 1616. Faustus takes over the dramatic framework of the morality plays in its presentation of a story of temptation, fall, and damnation and its free use of morality figures such as the good angel and the bad angel and the seven deadly sins, along with the devils Lucifer and Mephistopheles. In Faustus Marlowe tells the story of the doctor-turned-necromancer Faustus, who sells his soul to the devil in exchange for knowledge and power. The devil’s intermediary in the play, Mephistopheles, achieves tragic grandeur in his own right as a fallen angel torn between satanic pride and dark despair. The play gives eloquent expression to this idea of damnation in the lament of Mephistopheles for a lost heaven and in Faustus’ final despairing entreaties to be saved by Christ before his soul is claimed by the devil:

The stars move still, time runs, the clock

Will strike,

The devil will come, and Faustus must

Be damn’d.

O, I’ll leap up to my God!—Who pulls

Me down?—

See, see, where Christ’s blood streams in

The firmament!

One drop would save my soul, half a drop:

Ah, my Christ!—

Ah, rend not my heart for naming of my Christ!

Yet will I call on him: O, spare me, Lucifer!—

Where is it now? ’tis gone: and see, where God

Stretcheth out his arm, and bends his

Ireful brows!

Mountains and hills, come, come, and fall

On me,

And hide me from the heavy wrath of God!

Just as in Tamburlaine Marlowe had seen the cruelty and absurdity of his hero as well as his magnificence, so here he can enter into Faustus’ grandiose intellectual ambition, simultaneously viewing those ambitions as futile, self-destructive, and absurd. The text is problematic in the low comic scenes spuriously introduced by later hack writers, but its more sober and consistent moments are certainly the uncorrupted work of Marlowe.

In The Famous Tragedy of the Rich Jew of Malta, Marlowe portrays another power-hungry figure in the Jew Barabas, who in the villainous society of Christian Malta shows no scruple in self-advancement. But this figure is more closely incorporated within his society than either Tamburlaine, the supreme conqueror, or Faustus, the lonely adventurer against God. In the end Barabas is overcome, not by a divine stroke but by the concerted action of his human enemies. There is a difficulty in deciding how fully the extant text of The Jew of Malta represents Marlowe’s original play, for it was not published until 1633. But The Jew can be closely associated with The Massacre at Paris (1593), a dramatic presentation of incidents from contemporary French history, including the Massacre of St. Bartholomew’s Day, and with The Troublesome Raigne and Lamentable Death of Edward the Second (published 1594), Marlowe’s great contribution to the Elizabethan plays on historical themes.

As The Massacre introduces in the duke of Guise a figure unscrupulously avid for power, so in the younger Mortimer of Edward II Marlowe shows a man developing an appetite for power and increasingly corrupted as power comes to him. In each instance the dramatist shares in the excitement of the pursuit of glory, but all three plays present such figures within a social framework: the notion of social responsibility, the notion of corruption through power, and the notion of the suffering that the exercise of power entails are all prominently the dramatist’s concern. Apart from Tamburlaine and the minor work Dido, Queen of Carthage (of uncertain date, published 1594 and written in collaboration with Thomas Nashe), Edward II is the only one of Marlowe’s plays whose extant text can be relied on as adequately representing the author’s manuscript. And certainly Edward II is a major work, not merely one of the first Elizabethan plays on an English historical theme. The relationships linking the king, his neglected queen, the king’s favourite, Gaveston, and the ambitious Mortimer are studied with detached sympathy and remarkable understanding: no character here is lightly disposed of, and the abdication and the brutal murder of Edward show the same dark and violent imagination as appeared in Marlowe’s presentation of Faustus’ last hour. Though this play, along with The Jew and The Massacre, shows Marlowe’s fascinated response to the distorted Elizabethan idea of Machiavelli, it more importantly shows Marlowe’s deeply suggestive awareness of the nature of disaster, the power of society, and the dark extent of an individual’s suffering.

In addition to translations (Ovid’s Amores and the first book of Lucan’s Pharsalia), Marlowe’s nondramatic work includes the poem Hero and Leander. This work was incomplete at his death and was extended by George Chapman: the joint work of the two poets was published in 1598.

Events in Marlowe's life were sometimes as extreme as those found in his plays.[d] Differing sensational reports of Marlowe's death in 1593 abounded after the event and are contested by scholars today owing to a lack of good documentation. There have been many conjectures as to the nature and reason for his death, including a vicious bar-room fight, blasphemous libel against the church, homosexual intrigue, betrayal by another playwright, and espionage from the highest level: the Privy Council of Elizabeth I. An official coroner's account of Marlowe's death was discovered only in 1925, and it did little to persuade all scholars that it told the whole story, nor did it eliminate the uncertainties present in his biography.

Reputation among contemporary writers

Ben Jonson, leading satirist of the Elizabethan and Jacobean eras, was one of the first to acknowledge Marlowe for the power of his dramatic verse.

Ben Jonson, leading satirist of the Elizabethan and Jacobean eras, was one of the first to acknowledge Marlowe for the power of his dramatic verse.

For his contemporaries in the literary world, Marlowe was above all an admired and influential artist. Within weeks of his death, George Peele remembered him as "Marley, the Muses' darling"; Michael Drayton noted that he "Had in him those brave translunary things / That the first poets had" and Ben Jonson even wrote of "Marlowe's mighty line". Thomas Nashe wrote warmly of his friend, "poor deceased Kit Marlowe," as did the publisher Edward Blount in his dedication of Hero and Leander to Sir Thomas Walsingham. Among the few contemporary dramatists to say anything negative about Marlowe was the anonymous author of the Cambridge University play The Return from Parnassus (1598) who wrote, "Pity it is that wit so ill should dwell, / Wit lent from heaven, but vices sent from hell".

The most famous tribute to Marlowe was paid by Shakespeare in As You Like It, where he not only quotes a line from Hero and Leander ("Dead Shepherd, now I find thy saw of might, 'Who ever lov'd that lov'd not at first sight?'") but also gives to the clown Touchstone the words "When a man's verses cannot be understood, nor a man's good wit seconded with the forward child, understanding, it strikes a man more dead than a great reckoning in a little room." This appears to be a reference to Marlowe's murder which involved a fight over the "reckoning," the bill, as well as to a line in Marlowe's Jew of Malta, "Infinite riches in a little room."

The influence of Marlowe upon William Shakespeare is evidenced by the Marlovian themes and other allusions to Marlowe found in Shakespeare's plays and sonnets.

The influence of Marlowe upon William Shakespeare is evidenced by the Marlovian themes and other allusions to Marlowe found in Shakespeare's plays and sonnets.

Shakespeare was much influenced by Marlowe in his work, as can be seen in the use of Marlovian themes in Antony and Cleopatra, The Merchant of Venice, Richard II and Macbeth (Dido, Jew of Malta, Edward II and Doctor Faustus, respectively). In Hamlet, after meeting with the travelling actors, Hamlet requests the Player perform a speech about the Trojan War, which at 2.2.429–432 has an echo of Marlowe's Dido, Queen of Carthage. In Love's Labour's Lost Shakespeare brings on a character "Marcade" (three syllables) in conscious acknowledgement of Marlowe's character "Mercury", also attending the King of Navarre, in Massacre at Paris. The significance, to those of Shakespeare's audience who were familiar with Hero and Leander, was Marlowe's identification of himself with the god Mercury.