CHARACTERS OF DRAMATIC WRITERS,

CONTEMPORARY WITH SHAKSPEARE.

WHEN I selected for publication, in 1808, Specimens of English Dramatic Poets who lived about the time of Shakspeare, the kind of extracts which I was anxious to give were not so much passages of wit and humour, though the old plays are rich in such, as scenes of passions sometimes of the deepest quality, interesting situations, serious descriptions, that which is more nearly allied to poetry than to wit, and to tragic rather than to comic poetry. The plays which I made choice of were, with few exceptions, such as treat of human life and manners, rather than masques and Arcadian pastorals, with their train of abstractions, unimpassioned deities, passionate mortals-Claius, and Medorus, and Amintas, and Amarillis. My leading

design was to illustrate what may be called the moral sense of our ancestors. To show in what manner they felt, when they placed themselves by the power of imagination in trying circumstances, in the conflicts of duty and passion, or the strife of contending duties; what sort of loves and enmities theirs were; how their griefs were tempered, and their full-swoln joys abated: how much of Shakspeare shines in the great men his contemporaries, and how far in his divine mind and manners he surpassed them and all mankind. I was also desirous to bring together some of the most admired scenes of Fletcher and Massinger, in the estimation of the world the only dramatic poets of that age entitled to be considered after Shakspeare, and, by exhibiting them in the same volume with the more impressive scenes of old Marlowe, Heywood, Tourneur, Webster, Ford, and others, to show what we had slighted, while beyond all proportion we had been crying up one or two favourite names. From the desultory criticisms which accompanied that publication, I have selected a few which I thought would best stand by themselves, as requiring least immediate reference to the play or passage by which they were suggested.

CHRISTOPHER MARLOWE.

Lust's Dominion, or the Lascivious Queen.—This tragedy is in King Cambyses' vein; rape, and murder, and superlatives; "huffing braggart puft lines," such as the play-writers anterior to Shakspeare are full of, and Pistol but coldly imitates.

Tamburlaine the Great, or the Scythian Shepherd. The lunes of Tamburlaine are perfect midsummer madness. Nebuchadnazar's are mere modest pretensions compared with the thundering vaunts of this Scythian Shepherd. He comes in drawn by conquered kings, and reproaches these pampered jades of Asia that they can draw but twenty miles a day. Till I saw this passage with my own eyes, I never believed that it was any thing more than a pleasant burlesque of mine ancient's. But I can assure my readers that it is soberly set down in a play, which their ancestors took to be serious.

Edward the Second.-In a very different style from mighty Tamburlaine is the tragedy of Edward the Second. The reluctant pangs of abdicating royalty in Edward furnished hints, which Shakspeare scarcely improved in his Richard the Second; and the death-scene of Marlowe's king moves pity

and terror beyond any scene ancient or modern with which I am acquainted.

The Rich Jew of Malta.-Marlowe's Jew does not approach so near to Shakspeare's, as his Edward the Second does to Richard the Second. Barabas is a mere monster brought in with a large painted nose to please the rabble. He kills in sport, poisons whole nunneries, invents infernal machines. He is just such an exhibition as a century or two earlier might have been played before the Londoners " "by the royal command," when a general pillage and massacre of the Hebrews had been previously resolved on in the cabinet. It is curious to see a superstition wearing out. The idea of a Jew, which our pious ancestors contemplated with so much horror, has nothing in it now revolting. We have tamed the claws of the beast, and pared its nails, and now we take it to our arms, fondle it, write plays to flatter it; it is visited by princes, affects a taste, patronises the arts, and is the only liberal and gentlemanlike thing in Christendom.

Doctor Faustus.-The growing horrors of Faustus's last scene are awfully marked by the hours and half hours as they expire, and bring him nearer and nearer to the exactment of his dire compact. It is indeed an agony and a fearful

colluctation. Marlowe is said to have been tainted with atheistical positions, to have denied God and the Trinity. To such a genius the history of Faustus must have been delectable food: to wander in the fields were curiosity is forbidden to go, to approach the dark gulf near enough to look in, to be busied in speculations which are the rottenest part of the core of the fruit that fell from the tree of knowledge.* Barabas the Jew, and Faustus the conjuror, are offsprings of a mind which at least delighted to dally with interdicted subjects. They both talk a language which a believer would have been tender of putting into the mouth of a character though but in fiction. But the holiest minds have sometimes not thought it reprehensible to counterfeit impiety in the person of another, to bring Vice upon the stage speaking her own dialect; and, themselves being armed with an unction of self-confident impunity, have not scrupled to handle and touch that familiarly, which would be death to others. Milton in the person of Satan has started speculations hardier than any which the feeble armoury of the atheist ever furnished; and the precise, strait-laced Richardson has strengthend

Error, entering into the world with Sin among us poor Adamites, may be said to spring from the tree of knowledge itself, and from the rotten kernels of that fatal apple.-Howell's Letters.