endear his name to posterity, I am inclined to think he may be forgiven for cleansing Stationers' Hall by fire, in 1599, of certain works purporting to be poetical; such works, namely, as Marlowe's Elegies of Ovid, which appeared in company with Davies's Epigrammes, Marston's Metamorphosis of Pigmalion's Image, Hall's Satires, and Cutwode's Caltha Poetarum; or, The Bumble Bee. The latter is a fantastic poem of 187 stanzas about a bee and a marigold, and deserved the fire rather for its insipidity than for the reasons which justified the cleansing process applied to the others, the youthful productions of men who were destined to attain celebrity in very different directions of life.
Marlowe, like Shakespeare, from an actor became a writer of plays; but though Ben Jonson extolled his "mighty muse," I doubt whether his Edward II., Dr. Faustus, or Jew of Malta, are now widely popular. Anthony Wood has left a very disagreeable picture of Marlowe's character, which one would fain hope is overdrawn; but the dramatist's early death in a low quarrel prevented him from ever redeeming his early offences, as a kinder fortune permitted to his companions in the Stationers' bonfire.
Marston came to be more distinguished for his Satires than for his plays, his Scourge of Villainie being his chief title to fame. Of his Pigmalion all that can be said is, that it is not quite so bad as Marlowe's Elegies. Warton justly says, with pompous euphemism: "His stream of poetry, if sometimes bright and unpolluted, almost always betrays a muddy bottom." But this muddy bottom is discernible, not in Marston alone, but also in Hall's Virgidemiarum, or Satires, of which Warton did all he could to revive the popularity. Hall was Marston's rival at Cambridge, but Hall claims to be the first English satirist. He took Juvenal for his model, but the Latin of Juvenal seems to me far less obscure than the English of Hall. I quote two lines to show what this Cambridge student thought of the great Elizabethan period in which he lived. Referring to some remote golden age, he says: —
"Then men were men; but now the greater part
Beasts are in life, and women are in heart."
But strange are the evolutions of men. The author of the burnt satires rose from dignity to dignity in the Church. He became successively Bishop of Exeter and Bishop of Norwich, and to this day his devotional works are read by thousands who have never heard of his satires. He was sent as a deputy to the famous Synod of Dort, and was faithful to his Church and king through the Civil War. For this in his old age he suffered sequestration and imprisonment, and he lived to see his cathedral turned into a barrack, and his palace into an ale-house, dying shortly before the Restoration, in 1656, at the age of 82. Bayle thought him worthy of a place in his Dictionary, but he is still worthier of a place in our memories as one of those great English bishops who, like Burnet, Butler, or Tillotson, never put their Church before their humanity, but showed (what needed showing) that the Christianity of the clergy was not of necessity synonymous with the absolute negation of charity.
Davies, too, Marlowe's early friend, rose to fame both as a poet and a statesman. But he began badly. He was disbarred from the Middle Temple for breaking a club over the head of another law student in the very dining-hall. After that he became member for Corfe Castle, and then successively Solicitor-General and Attorney-General for Ireland. He was knighted in 1607. One of the best books on that unhappy country is his Discovery of the true causes why Ireland was never entirely subdued, nor brought under obedience of the Crown of England until the beginning of Her Majesty's happy reign (1611), dedicated to James I. His chief poems are his Nosce Teipsum and The Orchestra. In 1614 he was elected for Newcastle-under-Lyme, and he died in 1626, aged only 57. Yet in that time he had travelled a long way from the days of his early literary companionship with Christopher Marlowe.
The Church at the end of the sixteenth century assuredly aimed high. At the time the above books were burnt, it was decreed that no satires or epigrams should be printed in the future; and that no plays should be printed without the inspection and permission of the Archbishop of Canterbury and the Bishop of London! But even this is nothing compared with that later attempt to subject the Press to the Church which called forth Milton's Areopagitica; there indeed soon came to be very little to choose between the Inquisition of the High Commission and the more noxious Inquisition of Rome.
Конец ознакомительного фрагмента.
Текст предоставлен ООО «ЛитРес».
Прочитайте эту книгу целиком, купив полную легальную версию на ЛитРес.
Безопасно оплатить книгу можно банковской картой Visa, MasterCard, Maestro, со счета мобильного телефона, с платежного терминала, в салоне МТС или Связной, через PayPal, WebMoney, Яндекс.Деньги, QIWI Кошелек, бонусными картами или другим удобным Вам способом.
