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offence was I acquainted, and with one of them [Marlowe] I care not if I never be. The other [Shakespeare] whom at that time I did not so much spare as since I wish I had, for that as I have moderated the hate of living writers, and might have used my own discretion (especially in such a case, the author being dead) that I did not I am as sorry as if the original fault had been my fault; because myself have seen his demeanor no less civil than he is excellent in the quality he professes. Besides divers of worship have reported his uprightness of dealing, which argues his honesty, and his facetious grace in writing that approves his art. For the first whose learning I reverenced and at the perusing of Greene's book struck out what then in conscience I thought he in some displeasure writ; or had it been true, yet to publish it was intolerable; him 1 would wish to use me no better than I deserve****. In that letter I put something out, but in the whole book not a word in."

Mr. Malone, from whom we quote, supposes that Marlowe and Shakespeare were the persons alluded to by Chettle, as there was nothing in the addresses to Lodge and Peele which could possibly cause offence.

All the plays contained in the present collection have been usually attributed to the pen of Marlowe, ex

cept the play of Dido, in the composition of which he was assisted by Nash. Both the matter and style of Tamburlaine, however, differ materially from Marlowe's other compositions and doubts have more than once been suggested as to whether the play was properly assigned to him. We think that Marlowe did not write it; and have stated the reasons which have brought us to that conclusion in the note prefixed to the first part. And although Lust's Dominion was originally printed with Marlowe's name to it, by Kirkman, a bookseller, and a great collector and publisher of plays, it seems pretty clear that it is the composition of a later writer. The editor of the new edition of Dodsley's Old Plays has pointed out a small tract, originally printed in 1599, and included in Lord Somers' collection, vol. ix. p. 113. entitled " A brief and true declaration of the sickness and last words of Philip the Second, king of Spain," which clearly shew that the early part of the play refers to the reign and death of Philip the Second, who did not die until the 13th Sept. 1598, long after Marlowe's decease. This king left a son and daughter, Philip and Isabella, two of the characters in the play. It is true other characters unknown to history are introduced, but in two or three instances the language of the drama is so closely

copied from the tract that there can be no doubt that the latter preceded it.*

An historical event too, the banishment of the Moors from Spain, which took place in the reign of Philip the Third, is also referred to at the conclusion of the play. We were not aware of the existence of this tract until after Lust's Dominion was printed which will account for our making no mention of it in the note preceding the play.

Marlowe is also said to have joined Day in the comedy of " The Maiden's Holiday," which has never been printed, and was one of the plays destroyed

• The most remarkable are as follows: —

"—; embalm my body:

• when I am embalmed

Apparel me in a rich royal robe

According to the custom of the land;

Then place my bones within that brazen shrine."—

A. i. S. ii.

Philip is described in the tract as also giving directions for his funeral in which these words occur, " Commanding that thi» my body so soon as ever my soul shall be separated from the •ame be embalmed: then apparelled with a royal robe and so placed in this brazen shrine." And, again,

"Have care to Isabel, Her virtue was King Philip's looking glass."—A. i. S. ii.

"I pray you have a great care and regard to your sister, because she was my looking glass."—Ta Act. vOL, I. C

by Warburton's servant. Of his other works, the poem of Hero and Leander is the most celebrated. Shakspeare quotes it in " As You Like It:"— "Dead shepherd now I find thy saw of might Who ever lov'd that lov'd not at first sight."

And alludes to it twice in the " Two Gentlemen of Verona." Ben Jonson said of it that the lines were fitter for admiration than parallel: indeed it seems to have been a general favourite, and for the richness of the imagery and the polish of the versification well deserved to be so. Chapman's part falls fat short of Marlowe's in elegance and facility, but it frequently,surpasses the other in vigour. Marlowe also translated the first book of Lucan, and part of the elegies of Ovid, whose indelicacies he rendered with so much fidelity that they were ordered to be burnt at Stationers' Hall, in 1599, by command of the Archbishop of Canterbury, and Bishop of London. These translations will be found at the end of the third volume, together with a collection of epigrams by I. D. and C. M. ascribed .by Malone and Steevens to Davies and Marlowe. The translation, from Lucan, is curious, as exhibiting one of the earliest specimens of the use (except in dramatic compositions) of English blank verse; but the versification is by no means distinguished by the same polish and facility as that of his plays. Ac. cording to Warton, who quotes Coxeter's MSS. Marlowe also translated Coluthus's Rape of Helen, and from the fragments contained in the second volume it seems probable that he was the author of other pieces which are now lost.

The only plays then, according to our opinion, written exclusively by Marlowe, are " The Massacre of Paris," "The Jew of Malta," "Edward the. Second," and "Faustus." The first is a mere abortion: by the three remaining plays must his genius be estimated and on them must his reputation rest. The Jew of Malta possesses little to raise our interest, or awaken our sympathy; but yet amidst all its tumour and extravagance we cannot help perceiving the fire of genius, that " fine madness," foi which Drayton commends the author. Although not embellished by much poetical imagery, this production occasionally displays the rich enchasing of Marlowe's hand. The play of Edward the Second is much superior in truth and consistency of character as well as in chasteness of composition. It contains an excellent portraiture of the turbulent nobility of a semi-barbarous age, and the catastrophe is distinguished by a truth and pathos of the most affecting kind. Faustus is a drama of an entirely different class, and in it Marlowe displays more vigour of imagination and originality of conception than in any

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