EARLY YEARS

Marlowe was the second child and eldest son of John Marlowe, a Canterbury shoemaker. Nothing is known of his first schooling, but on Jan. 14, 1579, he entered the King's School, Canterbury, as a scholar. A year later he went to Corpus Christi College, Cambridge. Obtaining his bachelor of arts degree in 1584, he continued in residence at Cambridge—which may imply that he was intending to take Anglican orders. In 1587, however, the university hesitated about granting him the master's degree; its doubts (arising from his frequent absences from the university) were apparently set at rest when the Privy Council sent a letter declaring that he had been employed “on matters touching the benefit of his country”—apparently in Elizabeth I's secret service.

LAST YEARS AND LITERARY CAREER

After 1587 Marlowe was in London, writing for the theatres, occasionally getting into trouble with the authorities because of his violent and disreputable behaviour, and probably also engaging himself from time to time in government service. Marlowe won a dangerous reputation for “atheism,” but this could, in Elizabeth I's time, indicate merely unorthodox religious opinions. In Robert Greene's deathbed tract, Greenes groats-worth of witte, Marlowe is referred to as a “famous gracer of Tragedians” and is reproved for having said, like Greene himself, “There is no god” and for having studied “pestilent Machiuilian pollicie.” There is further evidence of his unorthodoxy, notably in the denunciation of him written by the spy Richard Baines and in the letter of Thomas Kyd to the lord keeper in 1593 after Marlowe's death. Kyd alleged that certain papers “denying the deity of Jesus Christ” that were found in his room belonged to Marlowe, who had shared the room two years before. Both Baines and Kyd suggested on Marlowe's part atheism in the stricter sense and a persistent delight in blasphemy. Whatever the case may be, on May 18, 1593, the Privy Council issued an order for Marlowe's arrest; two days later the poet was ordered to give daily attendance on their lordships “until he shall be licensed to the contrary.” On May 30, however, Marlowe was killed by Ingram Frizer, in the dubious company of Nicholas Skeres and Robert Poley, at a lodging house in Deptford, where they had spent most of the day and where, it was alleged, a fight broke out between them over the bill.

In a playwriting career that spanned little more than six years, Marlowe's achievements were diverse and splendid. Perhaps before leaving Cambridge he had already written Tamburlaine the Great (in two parts, both performed by the end of 1587; published 1590). Almost certainly during his later Cambridge years, Marlowe had translated Ovid's Amores ( The Loves) and the first book of Lucan's Pharsalia from the Latin. About this time he also wrote the play Dido, Queen of Carthage (published in 1594 as the joint work of Marlowe and Thomas Nashe). With the production of Tamburlaine he received recognition and acclaim, and playwriting became his major concern in the few years that lay ahead. Both parts of Tamburlaine were published anonymously in 1590, and the publisher omitted certain passages that he found incongruous with the play's serious concern with history; even so, the extant Tamburlaine text can be regarded as substantially Marlowe's. No other of his plays or poems or translations was published during his life. His unfinished but splendid poem Hero and Leander—which is almost certainly the finest nondramatic Elizabethan poem apart from those produced by Edmund Spenser—appeared in 1598.

WORKS

In the earliest of Marlowe's plays, the two-part Tamburlaine the Great ( c. 1587; published 1590), Marlowe's characteristic “mighty line” (as Ben Jonson called it) established blank verse as the staple medium for later Elizabethan and Jacobean dramatic writing. It appears that originally Marlowe intended to write only the first part, concluding with Tamburlaine's marriage to Zenocrate and his making “truce with all the world.” But the popularity of the first part encouraged Marlowe to continue the story to Tamburlaine's death. This gave him some difficulty, as he had almost exhausted his historical sources in part I; consequently the sequel has, at first glance, an appearance of padding. Yet the effort demanded in writing the continuation made the young playwright look more coldly and searchingly at the hero he had chosen, and thus part II makes explicit certain notions that were below the surface and insufficiently recognized by the dramatist in part I.

The play is based on the life and achievements of Timur (Timurlenk), the bloody 14th-century conqueror of Central Asia and India. Tamburlaine is a man avid for power and luxury and the possession of beauty: at the beginning of part I he is only an obscure Scythian shepherd, but he wins the crown of Persia by eloquence and bravery and a readiness to discard loyalty. He then conquers Bajazeth, emperor of Turkey, he puts the town of Damascus to the sword, and he conquers the sultan of Egypt; but, at the pleas of the sultan's daughter Zenocrate, the captive whom he loves, he spares him and makes truce. In part II Tamburlaine's conquests are further extended; whenever he fights a battle, he must win, even when his last illness is upon him. But Zenocrate dies, and their three sons provide a manifestly imperfect means for ensuring the preservation of his wide dominions; he kills Calyphas, one of these sons, when he refuses to follow his father into battle. Always, too, there are more battles to fight: when for a moment he has no immediate opponent on earth, he dreams of leading his army against the powers of heaven, though at other times he glories in seeing himself as “the scourge of God”; he burns the Qur'n, for he will have no intermediary between God and himself, and there is a hint of doubt whether even God is to be granted recognition. Certainly Marlowe feels sympathy with his hero, giving him magnificent verse to speak, delighting in his dreams of power and of the possession of beauty, as seen in the following of Tamburlaine's lines:

Nature, that fram'd us of four elements

Warring within our breasts for regiment,

Doth teach us all to have aspiring minds:

Our souls, whose faculties can comprehend

The wondrous architecture of the world,

And measure every wandering planet's course,

Still climbing after knowledge infinite,

And always moving as the restless spheres,

Wills us to wear ourselves and never rest,

Until we reach the ripest fruit of all,

That perfect bliss and sole felicity,

The sweet fruition of an earthly crown.

Marlowe's most famous play is The Tragicall History of Dr. Faustus; but it has survived only in a corrupt form, and its date of composition has been much-disputed. It was first published in 1604, and another version appeared in 1616. Faustus takes over the dramatic framework of the morality plays in its presentation of a story of temptation, fall, and damnation and its free use of morality figures such as the good angel and the bad angel and the seven deadly sins, along with the devils Lucifer and Mephistopheles. In Faustus Marlowe tells the story of the doctor-turned-necromancer Faustus, who sells his soul to the devil in exchange for knowledge and power. The devil's intermediary in the play, Mephistopheles, achieves tragic grandeur in his own right as a fallen angel torn between satanic pride and dark despair. The play gives eloquent expression to this idea of damnation in the lament of Mephistopheles for a lost heaven and in Faustus' final despairing entreaties to be saved by Christ before his soul is claimed by the devil:

Just as in Tamburlaine Marlowe had seen the cruelty and absurdity of his hero as well as his magnificence, so here he can enter into Faustus' grandiose intellectual ambition, simultaneously viewing those ambitions as futile, self-destructive, and absurd. The text is problematic in the low comic scenes spuriously introduced by later hack writers, but its more sober and consistent moments are certainly the uncorrupted work of Marlowe.

In The Famous Tragedy of the Rich Jew of Malta, Marlowe portrays another power-hungry figure in the Jew Barabas, who in the villainous society of Christian Malta shows no scruple in self-advancement. But this figure is more closely incorporated within his society than either Tamburlaine, the supreme conqueror, or Faustus, the lonely adventurer against God. In the end Barabas is overcome, not by a divine stroke but by the concerted action of his human enemies. There is a difficulty in deciding how fully the extant text of The Jew of Malta represents Marlowe's original play, for it was not published until 1633. But The Jew can be closely associated with The Massacre at Paris (1593), a dramatic presentation of incidents from contemporary French history, including the Massacre of St. Bartholomew's Day, and with The Troublesome Raigne and Lamentable Death of Edward the Second (published 1594), Marlowe's great contribution to the Elizabethan plays on historical themes.