396 Tucker Brooke, 



A book published in the year of Malone's death (1812), the Biogra- 

 phia Draiiiatica (vol I. pt. ii. pp. 491-493), gives a typical estimate 

 for the benefit of the general public. We here read that Marlowe 



lived in the reign of Queen Elizabeth, and was not only an author but an 

 actor also, being very considerable in both capacities. There is no account 

 extant of his family, but it is well known th.at he was of Bennet College . . . 

 He, however, quitted the academic life, and went on the stage. 



An account of his death, from Wood, follows ; his atheism is 

 deplored. 



Let us now consider him as a poet, and in this light he must be allowed 

 lo have had great merit. His turn was entirely to tragedy, in which kind 

 of writing he has left the six following testimonials of his abilities: i. Ta)ii- 

 burlainc. 2 parts. I. 4''^- 1590; H. 4'"- 1606. 2. Edivard II. 1598. 3- -^Ins- 

 sacrc at Paris. 8vo. n. d. 4. Faustus 4to. 1604. 5. Jew of Malta. 4to. 1633. 

 6. Lust's Dominion; or The Lascivious Queen. T. i2mo 1657; i2mo. 1661. 

 He also joined with Nash in writing Dido 4to. 1594, and began Hero and 

 Lcander. He also joined with Day, in The Maiden's Holyday. 1654. N. P. 



How very little Marlowe was generally appreciated in the age 

 of Keats and Byron appears from two notices of Doctor Faustiis. 

 The author of the preface to the 1814 ( ?) edition of the play 

 writes of it : 



This singular evidence of "the credulous ignorance" which then prevailed, 

 is by no means a favourable specimen of the plays to be submitted to the 

 public in this work ; but it was the first in chronological order, and of too 

 much consequence to be passed over altogether. Whoever shall attempt to 

 judge of it by dramatic rule, will find himself baffled in every attempt, and, 

 according to his humour, laugh or censure . . . 



And H. M. (Henry Maitland) contributes an article to the first 

 volume of Blackzvood's Mogaciiic (July, 1817), in which he says: 



As in all probability the greater number of our readers are unacciuaintcd 

 with this very singular composition, and as, independently of its own great 

 merits, it possesses an extraordinary interest at the present time, from the 

 general resemblance of its subject to that of Lord Byron's last poem [Man- 

 fred], we now shall give an analysis of it, accompanied with extracts 

 sufficiently copious to exhibit its peculiar spirit and character. 



ever seen any part of Goethe's Faust, though, of course, when I was familiar 

 enough with Marlowe's, I conceived and drew up the plan of a work, a 

 drama, which was to be, to my mind, what the Faust was to Goethe's. My 

 Faust was old A4ichael Scott ... He did not love knowledge for itself — 

 for its own exceeding great reward — but in order to be powerful.' 



