but very little doubt that the powerful, if formless, play of Lust's Dominion is Marlowe's, though it may have been rewritten, and the translations of Lucan and Ovid and the minor work which is more or less probably attributed to him, swell his tale. Prose he did not write, perhaps could not have written. For the one characteristic lacking to his genius was measure, and prose without measure, as numerous examples have shown, is usually rubbish. Even his dramas show a singular defect in the architectural quality of literary genius. The vast and formless creations of the writer's boundless fancy completely master him; his aspirations after the immense too frequently leave him content with the simply unmeasured. In his best play as a play, Edward the Second, the limitations of a historical story impose something like a restraining form on his glowing imagination. But fine as this play is, it is noteworthy that no one of his greatest things occurs in it. The Massacre at Paris, where he also has the confinement of reality after a fashion, is a chaotic thing as a whole, without any great beauty in parts. The Tragedy of Dido (to be divided between him and Nash) is the worst thing he ever did. But in the purely romantic subjects of Tamburlaine, Faustus, and The Jew of Malta, his genius, untrammelled by any limits of story, showed itself equally unable to contrive such limits for itself, and able to develop the most marvellous beauties of detail. Shakespere himself has not surpassed, which is equivalent to saying that no other writer has equalled, the famous and wonderful passages in Tamburlaine and Faustus, which are familiar to every student of English literature as examples of the ne plus ultra of the poetic powers, not of the language but of language. The tragic imagination in its wildest flights has never summoned up images of pity and terror more imposing, more moving, than those excited by The Jew of Malta. The riot of passion and of delight in the beauty of colour and form which characterises his version of Hero and Leander has never been approached by any writer. But Marlowe, with the fullest command of the apeiron, had not, and, as far as I can judge, never would have had, any power of introducing into it the law of the peras. It is usual to say that had he lived, and had his lot been happily cast, we should have had two Shakesperes. This is not wise. In the first place, Marlowe was totally destitute of humour – the characteristic which, united with his tragic and imaginative powers, makes Shakespere as, in a less degree, it makes Homer, and even, though the humour is grim and intermittent, Dante. In other words, he was absolutely destitute of the first requisite of self-criticism. In the natural course of things, as the sap of his youthful imagination ceased to mount, and as his craving for immensity hardened itself, he would probably have degenerated from bombast shot through with genius to bombast pure and simple, from Faustus to Lust's Dominion, and from Lust's Dominion to Jeronimo or The Distracted Emperor. Apart from the magnificent passages which he can show, and which are simply intoxicating to any lover of poetry, his great title to fame is the discovery of the secret of that "mighty line" which a seldom-erring critic of his own day, not too generously given, vouchsafed to him. Up to his time the blank verse line always, and the semi-couplet in heroics, or member of the more complicated stanza usually, were either stiff or nerveless. Compared with his own work and with the work of his contemporaries and followers who learnt from him, they are like a dried preparation, like something waiting for the infusion of blood, for the inflation of living breath. Marlowe came, and the old wooden versification, the old lay-figure structure of poetic rhythm, was cast once for all into the lumber-room, where only poetasters of the lowest rank went to seek it. It is impossible to call Marlowe a great dramatist, and the attempts that have been made to make him out to be such remind one of the attempts that have been made to call Molière a great poet. Marlowe was one of the greatest poets of the world whose work was cast by accident and caprice into an imperfect mould of drama; Molière was one of the greatest dramatists of the world who was obliged by fashion to use a previously perfected form of verse. The state of Molière was undoubtedly the more gracious; but the splendour of Marlowe's uncut diamonds of poetry is the more wonderful.
The characteristics of this strange and interesting school may be summed up briefly, but are of the highest importance in literary history. Unlike their nearest analogues, the French romantics of the 1830 type, they were all of academic education, and had even a decided contempt (despite their Bohemian way of life) for unscholarly innovators. They manifested (except in Marlowe's fortuitous and purely genial discovery of the secret of blank verse) a certain contempt for form, and never, at least in drama, succeeded in mastering it. But being all, more or less, men of genius, and having the keenest sense of poetry, they supplied the dry bones of the precedent dramatic model with blood and breath, with vigour and variety, which not merely informed but transformed it. David and Bethsabe, Doctor Faustus, Friar Bacon and Friar Bungay, are chaotic enough, but they are of the chaos that precedes cosmic development. The almost insane bombast that marks the whole school has (as has been noticed) the character of the shrieks and gesticulations of healthy childhood, and the insensibility to the really comic which also marks them is of a similar kind. Every one knows how natural it is to childhood to appreciate bad jokes, how seldom a child sees a good one. Marlowe and his crew, too (the comparison has no doubt often been used before), were of the brood of Otus and Ephialtes, who grew so rapidly and in so disorderly a fashion that it was necessary for the gods to make an end of them. The universe probably lost little, and it certainly gained something.
Side by side with this learned, extravagant, gifted, ill-regulated school, there was slowly growing up a very different one, which was to inherit all the gifts of the University Wits, and to add to them the gifts of measure and proportion. The early work of the actor school of English dramatists is a difficult subject to treat in any fashion, and a particularly difficult subject to treat shortly. Chronology, an important aid, helps us not very much, though such help as she does give has been as a rule neglected by historians, so that plays before 1590 (which may be taken roughly as the dividing date), and plays after it have been muddled up ruthlessly. We do not know the exact dates of many of those which are (many of the plays of the earlier time are not) extant; and of those which are extant, and of which the dates are more or less known, the authors are in not a few most important cases absolutely undiscoverable. Yet in the plays which belong to this period, and which there is no reason to attribute wholly to any of the Marlowe group, or much reason to attribute to them under the guidance, or perhaps with the collaboration of practical actors (some at least of whom were like Shakespere himself, men of no known regular education), there are characteristics which promise at least as well for the future as the wonderful poetic outbursts of the Marlowe school itself. Of these outbursts we find few in this other division. But we find a growing knowledge of what a play is, as distinguished from a series of tableaux acted by not too lifelike characters. We find a glimmering (which is hardly anywhere to be seen in the more literary work of the other school) of the truth that the characters must be made to work out the play, and not the play be written in a series of disjointed scenes to display, in anything but a successful fashion, the characters. With fewer flights we have fewer absurdities; with less genius we have more talent. It must be remembered, of course, that the plays of the university school itself were always written for players, and that some of the authors had more or less to do with acting as well as with writing. But the flame of discord which burns so fiercely on the one side in the famous real or supposed dying utterances of Greene, and which years afterwards breaks out on the other in the equally famous satire of The Return from Parnassus,21 illuminates a real difference – a difference which study of the remains of the literature of the period can only make plainer. The same difference has manifested itself again, and more than once in other departments of literature, but hardly in so interesting a manner, and certainly not with such striking results.
CHAPTER IV
"THE FAËRIE QUEENE" AND ITS GROUP
There is no instance in English history of a poet receiving such immediate recognition, and deserving it so thoroughly, as did Edmund Spenser at the date of The Shepherd's Calendar. In the first chapter of this volume the earlier course of Elizabethan poetry has been described, and it will have been seen that, with great intention, no very great accomplishment had been achieved. It was sufficiently evident that a poetic language and a general poetic spirit were being formed, such as had not existed in England since Chaucer's death; but no one had yet arisen who could justify the expectation based