NOTE ON MARLOWE.

It has long been the fashion to consider Marlowe as the precursor of Shakspere; to regard Marlowe as one of the founders of the regular drama, and Shakspere only as an improver. The internal evidence for this belief has been entered into with some fulness in our Essay on the Three Parts of Henry VI., &c. We may here say a few words as to the external evidence. Marlowe was killed in a wretched brawl on the 1st of June, 1593. Of his age nothing is exactly known; but he took his degree of Bachelor of Arts, in Corpus Christi College, Cambridge, in 1583; and that of Master of Arts in 1587. The age of Elizabeth had its boy bachelors, as well as that of her father. Youths went earlier to the university than in our time, and received their first degree earlier. We may conclude, therefore, that Marlowe was not older than Shakspere. Phillips, in his Theatrum Poetarum,' thus speaks of him :-"Christopher Marlowe, a kind of a second Shakspeare (whose contemporary he was), not only because like him he rose from an actor to be a maker of plays, though inferior both in fame and merit," &c. We have no distinct record of Marlowe as an actor. We know that he was early a maker of plays. There appears to be little doubt that he was the author of Tamburlaine;' and 'Tamburlaine' is mentioned by Greene in 1588. But Hamlet is mentioned by Nash in 1587 (if 1587 be the date of Greene's 'Menaphon'), and the evidence is quite as good that this was the Hamlet of Shakspere, as that the other was the Tamburlaine' of Marlowe. The young Shakspere and the young Marlowe, it is agreed, were nearly of the same age. What right have we to infer that the one could produce a ‘Tamburlaine' at the age of twenty-four or twenty-five, and the other not produce an imperfect outline of his own Hamlet at the same age? Malone connects the supposed date of Shakspere's commencement as a dramatic writer with the notice of him by some of his contemporaries. He passes over Nash's "whole Hamlets;" he maintains that Spenser's descrip tion, in 1591, of the "gentle spirit," who

"Doth rather choose to sit in idle cell
Than so himself to mockery to sell,"

applied not to Shakspere, but to Lyly, who was at that instant most active in "mockery;" but he fixes Shakspere with having begun to write in 1592, because Greene in that year sneers at him as "the only Shake-scene in a country." Does a young writer suddenly jump into the distinction of a sneer of envy from one much older in reputation, as Greene was? In an age when there were no newspapers and no reviews, it must be extremely difficult to trace the course of any man, however eminent, by the notices of the writers of his times. An author's fame, then, was not borne through every quarter of the land in the very hour in which it was won. More than all, the reputation of a dramatic writer could scarcely be known, except to a resident in London, until his works were com mitted to the press. The first play of Shakspere's which was printed was The First Part of the Contention (Henry VI., Part II.), and that did not appear till 1594. Now, Malone says, "In Webbe's 'Discourse of English Poetry,' published in 1586, we meet with the names of most of the celebrated poets of that time; particularly those of George Whetstone and Anthony Munday, who were dramatic writers; but we find no trace of our author, or of any of his works." But Malone does not tell us that in Webbe's 'Discourse of Poetry,' we find the following passage :-"I am humbly to desire pardon of the learned company of gentlemen scholars, and students of the univer sities and inns of court, if I omit their several commendations in this place, which I know a great number of them have worthily deserved, in many rare devices and singular inventions of poetry: for neither hath it been my good hap to have seen all which I have heard of, neither is my abiding in such place where I can with facility get knowledge of their works."

"Three years afterwards," continues Malone, "Puttenham printed his 'Art of English Poesy;'

and in that work also we look in vain for the name of Shakspeare." The book speaks of the oneand-thirty years' space of Elizabeth's reign; and thus puts the date of the writing a year earlier than the printing. But we here look in vain for some other illustrious names besides that of Shakspere. Malone has not told us that the name of Edmund Spenser is not found in l'uttenham; nor, what is still more uncandid, that not one of Shakspere's early dramatic contemporaries is mentioned neither Marlowe, nor Greene, nor Peele, nor Kyd, nor Lyly. The author evidently derives his knowledge of " poets and poesy" from a much earlier period than that in which he publishes. He does not mention Spenser by name, but he does "that other gentleman who wrote the late Shepherd's Calendar.'" TheShepherd's Calendar' of Spenser was published in the year 1579. Malone goes on to argue that the omission of Shakspere's name, or any notice of his works in Sir John Harrington's Apology of Poetry,' printed in 1591, in which "he takes occasion to speak of the theatre, and mentions some of the celebrated dramas of that time," is a proof that none of Shakspere's dramatic compositions had then appeared. The reader will be in a better position to judge of the value of this argument by a reference to the passage of Sir John Harrington :— "For tragedies, to omit other famous tragedies: that, that was played at St. John's in Cambridge, of Richard III., would move, I think, Phalaris the tyrant, and terrify all tyrannous-minded men.” [This was a Latin play, by Dr. Legge, acted some years before 1588.] "Then for comedies. How full of harmless mirth is our Cambridge 'Pedantius' and the Oxford 'Bellum Grammaticale' [Latin plays again.] "Or, to speak of a London comedy, how much good matter, yea, and matter of state, is there in that comedy called 'The Play of the Cards,' in which it is showed how four parasitical knaves robbed the four principal vocations of the realm; videl. the vocation of soldiers, scholars, merchants, and husbandmen! Of which comedy, I cannot forget the saying of a notable wise counsellor that is now dead, who, when some (to sing Placebo) advised that it should be forbidden, because it was somewhat too plain, and indeed as the old saying is (sooth boord is no boord), yet he would have it allowed, adding it was fit that they which do that they should not, should hear that they would not."

Nothing, it will be seen, can be more exaggerated than Malone's statement, "He takes occasion to speak of the theatre, and mentions some of the celebrated dramas of that time.” Does he men

But

tion Tamburlaine,' or 'Faustus,' or 'The Massacre of Paris,' or 'The Jew of Malta'? As he does not, it may be assumed with equal justice that none of Marlowe's compositions had appeared in 1591; and yet we know that he died in 1593. So of Lyly's 'Galathea,' 'Alexander and Campaspe,' 'Endymion,' &c. So of Greene's 'Orlando Furioso,' 'Friar Bacon,' 'James IV.' So of the 'Spanish Tragedy' of Kyd. The truth is, that Harrington in his notice of celebrated dramas was even more antiquated than Puttenham; and his evidence, therefore, in this matter, is utterly worthless. Malone has given his crowning proof that Shakspere had not written before 1591, in the following words:"Sir Philip Sidney, in his 'Defence of Poesie,' speaks at some length of the low state of dramatic literature at the time he composed this treatise, but has not the slightest allusion to Shakspeare, whose plays, had they then appeared, would doubtless have rescued the English stage from the contempt which is thrown upon it by the accomplished writer; and to which it was justly exposed by the wretched compositions of those who preceded our poet. 'The Defence of Poesie' was not published till 1595, but must have been written some years before." There is one slight objection to this argument: Sir Philip Sidney was killed at the battle of Zutphen, in the year 1586; and it would really have been somewhat surprising if the illustrious author of the 'Defence of Poesy' could have included Shakspere in his account " of the low state of dramatic literature at the time he composed this treatise," which was in effect a reply to 'The School of Abuse' of Gosson, and to other controversialists of the puritanical fretion, who were loudest about 1580. At that time Shakspere was tixteen years of age.

AT the close of the year 1587, and the opening, according to our new style, of 1588, "the Queen's Majesty being at Greenwich, there were showed, presented, and enacted before her Highness, betwixt Christmas and Shrovetide, seven plays, besides feats of activity and other shows, by the children of Paul's, her Majesty's own servants, and the gentlemen of Gray's Inn, on whom was employed divers remnants of cloth of gold and other stuff out of the store.' Such is the record of the accounts of the revels at Court. Of the seven plays performed by the children of Paul's and the Queen's servants there is no memorial; but we learn from the title of a book of uncommon rarity of what

nature were the "Certaine Devises and Shewes presented Her Majestie by the Gentlemen of Graye's Inne, at Her Highnesse Court in Greenwich, the twentyeighth day of Februarie, in the thirtieth yeare of Her Majestie's most happy raigne."* The "Misfortunes of Arthur, Uther Pendragon's son," was the theme of these devices and shows. It was "reduced into tragical notes by Thomas Hughes, one of the society of Gray's Inn. It was "set down as it passed from under his hands, and as it was presented, excepting certain words and lines, where some of the actors either helped their memories by brief omission, or fitted their acting by alteration." Thomas Hughes also tells us that he has put "a note at the end of such speeches as were penned by others, in lieu of these hereafter following." It is pleasant to imagine the gentlemen of Gray's In sitting over their sack during the Christmas of 1587, listening to Thomas Hughes reciting his doleful tragedy; cutting out a speech here, adding something wondrously telling there; the most glib of tongue modestly declining to accept the part of Arthur the king, and expressing his content with Mordred the usurper; a beardless student cheerfully agreeing to wear the robes of Guenevra the queen; and a grey-headed elder undertaking the Ghost of the Duke of Cornwall. A perfect play it is, if every accessory of a play can render it perfect; for every act has an argument, and every argument a dumb-show, and every dumb-show a chorus. Here is indeed an ample field for ambitious members of the honourable society to contribute their devices; and satisfactory it is that the names of some of his fellow-labourers in this elaborate work have been preserved to us by the honour-giving Thomas Hughes. "The dumb-shows and additional speeches were partly devised by William Fulbeck, Francis Flower, Christopher Yelverton, Francis Bacon, John Lancaster, and others, who with Master Penroodock and Lancaster directed these proceedings at Court." Precious is this record. The salt that preserves it is the one name of Francis Bacon. Bacon, in 1588, was Reader of Gray's Inn. To the devices and shows of Hughes's tragedy-accompaniments that might lessen the tediousness of its harangues, and scatter a little beauty and repose amongst its scenes of crime and murder-Bacon would bring something of that high poetical spirit which gleams out at every page of his philosophy. Nicholas Trotte, gentleman, penned the Introduction, "which was pronounced in manner following, namely, three Muses came upon the stage apparelled accordingly, bringing five gentlemen-students attired in their usual garments, whom one of the Muses presented to her Majesty as captives." But the dresses, the music, the dancing to song, were probably directed by the tasteful mind who subsequently wrote, "These things are but toys; but yet, since princes will have such things, it is better that they should be graced with elegancy than daubed with cost."† Under the roof then of the old palace at Greenwich-the palace which Humphrey of Gloucester is said to have built, and where Elizabeth was born-are assembled the gentlemen of Gray's Inn and the Queen's players. The two master-spirits of their time- amongst the very greatest of all time-are there.

A copy is in the Garrick Collection, in the British Museum.

+ Of Masques and Triumphs: Essay 37.

Francis Bacon, the lawyer, and William Shakspere, the actor, are unconscious each of the greatness of the other. The difference of their rank probably prevents that communication which might have told each something of the other's power. Master Penroodock and Master Lancaster may perhaps solicit a little of the professional advice of Burbage and his men; and the other gentlemen who penned the dumb-shows may have assisted at the conference. A flash of wit from William Shakspere may have won a smile from the Reader of Gray's Inn; and he may have dropped a scrap of that philosophy which is akin to poetry, so as to make the young actor reverence him more highly than as the son of Elizabeth's former honest Lord Keeper. But the signs of that freemasonry by which great minds know each other could scarcely be exchanged. They would go their several ways, the one to tempt the perils and the degradations of ambition, and to find at last a refuge in philosophy; the other to be content with a well-earned competence, and gathering amidst petty strifes and jealousies, if such could disturb him, something more than happiness in the culture of that wondrous imagination which had its richest fruits in his own unequalled cheerful wisdom.

Elizabeth, the Queen, is now in her fifty-fifth year. She is ten years younger than when Paul Hentzner described her, as he saw her surrounded with her state in this same palace. The wrinkles of her face, oblong and fair, were perhaps not yet very marked. Her small black eyes, according to the same authority, were pleasant even in her age. The hooked nose, the narrow lips, and the discoloured teeth, were perhaps less noticeable when Shakspere looked upon her in his early days. The red hair was probably not false, as it afterwards was. The small hand and the white tingers were remarkable enough of themselves; but, sparkling with rings and jewels, the eve rested upon them.

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