* December, 1888. Christopher Marlowe, whose "mighty line" was celebrated by Ben Jonson, is one of the glories of English literature. He was the morning star of our drama, which gives us the highest place in modern poetry. He definitively made our blank verse, which it only remained for Shakespeare to improve with his infinite variety; and although his daring, passionate genius was extinguished at the early age of twenty-nine, it has reverent admirers among the best and greatest critics of English literature. Many meaner luminaries have had their monuments while Marlowe's claims have been neglected; but there is now a project on foot to erect something in honor of his memory, and the committee includes the names of Robert Browning and Algernon Swinburne.
This project evokes a howl from an anonymous Christian in the columns of the Pall Mall Gazette. He protests against the "grotesque indecency of such a scheme," and stigmatises Marlowe as "a disreputable scamp, who lived a scandalous life and died a disgraceful death." That Marlowe was "a scamp" we have on the authority of those who denounced his scepticism and held him up as a frightful warning. His fellow poets, like Chapman and Drayton, spoke of him with esteem. An anonymous eulogist called him "kynde Kit Marlowe"; and Edward Blunt, his friend and publisher, said "the impression of the man hath been dear unto us, living an after-life in our memory." Assuredly Shakespeare's "dead shepherd" was no scamp. He apparently sowed his wild oats, like hundreds of other young men who were afterwards lauded by the orthodox. He was fond of a glass of wine in an age when tea and coffee were unknown, and English ladies drank beer for breakfast. And if he perished in a sudden brawl, it was at a time when everyone wore arms, and swords and daggers were readily drawn in the commonest quarrels. Nor should it be forgotten that he belonged to a "vagabond" class, half-outlawed and denounced by the clergy; that the drama was only then in its infancy; that it was difficult to earn bread by writing even immortal plays; and that irregularity of life was natural in a career whose penury was only diversified by haphazard successes. After all is said, Marlowe was no man's enemy but his own; and it is simply preposterous to judge him by the social customs of a more fastidious and, let us add, a more hypocritical age.
Our Christian protestor is shocked at the suggestion that the Marlowe memorial should be placed in Westminster Abbey, "an edifice which I believe was originally built to the honor of Jesus Christ." "The blasphemies of Voltaire," he says, "pale into insignificance when compared with those of Marlowe;" he "deliberately accused Jesus Christ and his personal followers of crimes which are justly considered unmentionable in any civilised community," and "any monument which may be erected in honor of Christopher Marlowe will be a deliberate insult to Christ."
Now those "blasphemies" are set forth in the accusation of an informer, one Richard Bame, who was hanged at Tyburn the next year for some mortal offence. Marlowe's death prevented his arrest, and it is somewhat extravagant—not to give it a harsher epithet—to write as though the accusation had been substantiated in a legal court. One of Bame's statements about Marlowe's itch for coining is, upon the face of it, absurd, and the whole document is open to the g............