ion were very like
his.

Something of the way in which the spirit of adventure of the time
affected and finished the drama we have already seen. It is time now to
turn to the dramatists themselves.

(2)

Of Marlowe, Kyd, Greene, and Peele, the "University Wits" who fused the
academic and the popular drama, and by giving the latter a sense of
literature and learning to mould it to finer issues, gave us
Shakespeare, only Marlowe can be treated here. Greene and Peele, the
former by his comedies, the latter by his historical plays, and Kyd by
his tragedies, have their places in the text-books, but they belong to a
secondary order of dramatic talent. Marlowe ranks amongst the greatest.
It is not merely that historically he is the head and fount of the whole
movement, that he changed blank verse, which had been a lumbering
instrument before him, into something rich and ringing and rapid and
made it the vehicle for the greatest English poetry after him.
Historical relations apart, he is great in himself. More than any other
English writer of any age, except Byron, he symbolizes the youth of his
time; its hot-bloodedness, its lust after knowledge and power and life
inspires all his pages. The teaching of Machiavelli, misunderstood for
their own purposes by would-be imitators, furnished the reign of
Elizabeth with the only political ideals it possessed. The simple
brutalism of the creed, with means justified by ends and the unbridled
self-regarding pursuit of power, attracted men for whom the Spanish
monarchy and the struggle to overthrow it were the main factors and
politics. Marlowe took it and turned it to his own uses. There is in his
writings a lust of power, "a hunger and thirst after unrighteousness," a
glow of the imagination unhallowed by anything but its own energy which
is in the spirit of the time. In _Tamburlaine_ it is the power of
conquest, stirred by and reflecting, as we have seen, the great deeds of
his day. In _Dr. Faustus_ it is the pride of will and eagerness of
curiosity. Faustus is devoured by a tormenting desire to enlarge his
knowledge to the utmost bounds of nature and art and to extend his power
with his knowledge. His is the spirit of Renaissance scholarship
heightened to a passionate excess. The play gleams with the pride of
learning and a knowledge which learning brings, and with the nemesis
that comes after it. "Oh! gentlemen! hear me with patience and tremble
not at my speeches. Though my he