LITMIR.BIZ

Скачать книгу

is little reason to doubt that the received story is in the main correct. Of the remarkable prose pamphlets which form the bulk of Greene's work we speak elsewhere, as also of the pretty songs (considerably exceeding in poetical merit anything to be found in the body of his plays) with which both pamphlets and plays are diversified. His actual dramatic production is not inconsiderable: a working-up of the Orlando Furioso; A Looking Glass for London and England (Nineveh) with Lodge; James IV. (of Scotland), a wildly unhistorical romance; Alphonsus, King of Arragon; and perhaps The Pinner of Wakefield, which deals with his own part namesake George-a-Greene; not impossibly also the pseudo-Shakesperian Fair Em. His best play without doubt is The History of Friar Bacon and Friar Bungay, in which, after a favourite fashion of the time, he mingles a certain amount of history, or, at least, a certain number of historical personages, with a plentiful dose of the supernatural and of horseplay, and with a very graceful and prettily-handled love story. With a few touches from the master's hand, Margaret, the fair maid of Fressingfield, might serve as handmaid to Shakespere's women, and is certainly by far the most human heroine produced by any of Greene's own group. There is less rant in Greene (though there is still plenty of it) than in any of his friends, and his fancy for soft female characters, loving, and yet virtuous, appears frequently. But his power is ill-sustained, as the following extract will show: —

      Margaret. "Ah, Father, when the harmony of heaven

      Soundeth the measures of a lively faith,

      The vain illusions of this flattering world

      Seem odious to the thoughts of Margaret.

      I lovèd once, – Lord Lacy was my love;

      And now I hate myself for that I loved,

      And doted more on him than on my God, —

      For this I scourge myself with sharp repents.

      But now the touch of such aspiring sins

      Tells me all love is lust but love of heaven;

      That beauty used for love is vanity:

      The world contains naught but alluring baits,

      Pride, flattery [ ], and inconstant thoughts.

      To shun the pricks of death I leave the world,

      And vow to meditate on heavenly bliss,

      To live in Framlingham a holy nun,

      Holy and pure in conscience and in deed;

      And for to wish all maids to learn of me

      To seek heaven's joy before earth's vanity."

      We do not know anything of Thomas Kyd's, except The Spanish Tragedy, which is a second part of an extremely popular play (sometimes attributed to Kyd himself, but probably earlier) called Jeronimo, and the translation of Cornelia, though others are doubtfully attributed. The well-known epithet of Jonson, "sporting" Kyd, seems to have been either a mere play on the poet's name, or else a lucus a non lucendo; for both Jeronimo and its sequel are in the ghastliest and bloodiest vein of tragedy, and Cornelia is a model of stately dullness. The two "Jeronimo" or "Hieronimo" plays were, as has been said, extremely popular, and it is positively known that Jonson himself, and probably others, were employed from time to time to freshen them up; with the consequence that the exact authorship of particular passages is somewhat problematical. Both plays, however, display, nearly in perfection, the rant, not always quite ridiculous, but always extravagant, from which Shakespere rescued the stage; though, as the following extract will show, this rant is by no means always, or indeed often, smoke without fire: —

      "O! forbear,

      For other talk for us far fitter were.

      But if you be importunate to know

      The way to him, and where to find him out,

      Then list to me, and I'll resolve your doubt.

      There is a path upon your left hand side,

      That leadeth from a guilty conscience

      Unto a forest of distrust and fear —

      A darksome place and dangerous to pass.

      There shall you meet with melancholy thoughts

      Whose baleful humours if you but uphold,

      It will conduct you to despair and death.

      Whose rocky cliffs when you have once beheld

      Within a hugy dale of lasting night —

      That, kindled with the world's iniquities,

      Doth cast up filthy and detested fumes —

      Not far from thence, where murderers have built

      An habitation for their cursed souls,

      There is a brazen cauldron fixed by Jove

      In his fell wrath upon a sulphur flame.

      Yourselves shall find Lorenzo bathing him

      In boiling lead and blood of innocents."

      But nothing, except citation of whole scenes and acts, could show the extraordinary jumble of ghosts, blood, thunder, treachery, and horrors of all sorts which these plays contain.

      Now for a very different citation: —

      "If all the pens that ever poets held

      Had fed the feeling of their masters' thoughts,

      And every sweetness that inspir'd their hearts,

      Their minds, and muses, on admired themes;

      If all the heavenly quintessence they 'still

      From their immortal flowers of poesy,

      Wherein as in a mirror we perceive

      The highest reaches of a human wit;

      If these had made one poem's period,

      And all combined in beauty's worthiness,

      Yet should there hover in their restless heads

      One thought, one grace, one wonder at the least

      Which into words no virtue can digest."

      It is no wonder that the whole school has been dwarfed in the general estimation, since its work was critically considered and isolated from other work, by the towering excellence of this author. Little as is known of all the band, that little becomes almost least in regard to their chief and leader. Born (1564) at Canterbury, the son of a shoemaker, he was educated at the Grammar School of that city, and at Benet (afterwards Corpus) College, Cambridge; he plunged into literary work and dissipation in London; and he outlived Greene only to fall a victim to debauchery in a still more tragical way. His death (1593) was the subject of much gossip, but the most probable account is that he was poniarded in self-defence by a certain Francis Archer, a serving-man (not by any means necessarily, as Charles Kingsley has it, a footman), while drinking at Deptford, and that the cause of the quarrel was a woman of light character. He has also been accused of gross vices not to be particularised, and of atheism. The accusation is certain; and Mr. Boas's researches as to Kyd, who was also concerned in the matter, have thrown some light on it; but much is still obscure. The most offensive charges were due to one Bame or Baines, who was afterwards hanged at Tyburn. That Marlowe was a Bohemian in the fullest sense is certain; that he was anything worse there is no evidence whatever. He certainly was acquainted with Raleigh and other distinguished persons, and was highly spoken of by Chapman and others.

      But the interest of Marlowe's name has nothing to do with these obscure scandals of three hundred years ago, though it may be difficult to pass them over entirely. He is the undoubted author of some of the masterpieces of English verse; the hardly to be doubted author of others not much inferior. Except the very greatest names – Shakespere, Milton, Spenser, Dryden, Shelley – no author can be named who has produced, when the proper historical estimate is applied to him, such work as is to be found in Tamburlaine, Doctor Faustus, The Jew of Malta, Edward the Second, in one department; Hero and Leander and the Passionate Shepherd in another.

Скачать книгу