A History of English Literature

Marlowe was born in 1564 (the same year as Shakspere), the son of a
shoemaker at Canterbury. Taking his master's degree after seven years at
Cambridge, in 1587, he followed the other 'university wits' to London.
There, probably the same year and the next, he astonished the public with
the two parts of 'Tamburlaine the Great,' a dramatization of the stupendous
career of the bloodthirsty Mongol fourteenth-century conqueror. These
plays, in spite of faults now conspicuous enough, are splendidly
imaginative and poetic, and were by far the most powerful that had yet been
written in England. Marlowe followed them with 'The Tragical History of Dr.
Faustus,' a treatment of the medieval story which two hundred years later
was to serve Goethe for his masterpiece; with 'The Jew of Malta,' which was
to give Shakspere suggestions for 'The Merchant of Venice'; and with
'Edward the Second,' the first really artistic Chronicle History play.
Among the literary adventurers of the age who led wild lives in the London
taverns Marlowe is said to have attained a conspicuous reputation for
violence and irreligion. He was killed in 1593 in a reckless and foolish
brawl, before he had reached the age of thirty.
If Marlowe's life was unworthy, the fault must be laid rather at the door
of circumstances than of his own genuine nature. His plays show him to have
been an ardent idealist and a representative of many of the qualities that
made the greatness of the Renaissance. The Renaissance learning, the
apparently boundless vistas which it had opened to the human spirit, and
the consciousness of his own power, evidently intoxicated Marlowe with a
vast ambition to achieve results which in his youthful inexperience he
could scarcely even picture to himself. His spirit, cramped and outraged by
the impassable limitations of human life and by the conventions of society,
beat recklessly against them with an impatience fruitless but partly grand.
This is the underlying spirit of almost all his plays, struggling in them
for expression. The Prolog to 'Tamburlaine' makes pretentious announcement
that the author will discard the usual buffoonery of the popular stage and
will set a new standard of tragic majesty:
From jigging veins of rhyming mother wits,
And such conceits as clownage keeps in pay,
We'll lead you to the stately tent of war,
Where you shall hear the Scythian Tamburlaine
Threatening the world with high astounding terms,
And scourging kingdoms with his conquering sword.
Tamburlaine himself as Marlowe presents him is a titanic, almost
superhuman, figure who by sheer courage and pitiless unbending will raises
himself from shepherd to general and then emperor of countless peoples, and
sweeps like a whirlwind over the stage of the world, carrying everywhere
overwhelming slaughter and desolation. His speeches are outbursts of
incredible arrogance, equally powerful and bombastic. Indeed his
blasphemous boasts of superiority to the gods seem almost justified by his
apparently irresistible success. But at the end he learns that the laws of
life are inexorable even for him; all his indignant rage cannot redeem his
son from cowardice, or save his wife from death, or delay his own end. As
has been said, [Footnote: Professor Barrett Wendell, 'William Shakspere,'
p. 36.] 'Tamburlaine' expresses with 'a profound, lasting, noble sense and
in grandly symbolic terms, the eternal tragedy inherent in the conflict
between human aspiration and human power.'
For several other reasons 'Tamburlaine' is of high importance. It gives
repeated and splendid expression to the passionate haunting Renaissance