Abbildungen der Seite

of league or compromise between the hostile forces of lyric and dramatic inspiration. In the earlier plays dramatic fitness is often sacrificed to the craving for poetic selfexpression. In Edward II the attention to stage requirements and dramatic structure tends frequently to banish some of the subtler and sweeter qualities of Marlowe's verse; or if the lyric vein finds here and there an outlet, it bursts forth as unsubdued as ever, throwing off the restrictions of dramatic propriety and launching into declamation as eloquent and as uncritical as that of Tamburlaine itself. In his last great tragedy Marlowe shows no more than in his first an ability to fuse these two main elements of dramatic poetry. The incapacity to do so is doubtless fundamental, and it explains better than anything else why Marlowe's genius could never have developed as that of Shakespeare did.

Source. The main source of Edward II is Holinshed's Chronicle, from which Marlowe has selected the material for his tragedy with the imaginative freedom characteristic of Shakespeare's use of the same historian. Chronological accuracy is not attempted, but the true meaning of history is faithfully represented. The Scottish jig (II. 990-997) is derived from the Chronicles of Fabyan, and one or two other incidents, unrecorded in Holinshed, have been traced to the General Chronicle of John Stowe. The relation of the play to each of these three works has been worked out with some elaborateness by C. Tzschaschel1 in a Halle dissertation, and the same general results are recorded independently in the introductions to the editions of Tancock and Fleay.

1 Marlowe's Edward II und seine Quellen, 1902.

[merged small][graphic][merged small]
[blocks in formation]

Readings of MS. fragment in South Kensington Museum (6209), purporting to represent edition of that year.

Quarto edition of that year.

[blocks in formation]
[ocr errors][ocr errors][ocr errors][ocr errors][ocr errors]
[merged small][ocr errors][ocr errors][ocr errors][ocr errors][merged small][merged small][ocr errors][ocr errors][merged small][ocr errors][ocr errors]
[merged small][merged small][merged small][merged small][ocr errors][merged small][merged small]

Text of play in Dodsley's Old Plays, ed. 1744, vol. ii.


[ocr errors]
[ocr errors]
[ocr errors]
[ocr errors]
[ocr errors]
[ocr errors]

ed. 1780, vol. ii. ed. 1825, vol. ii. Ancient British Drama, vol. i.

Old English Plays, 1814, 1815.

Robinson's edition of Marlowe, 1826.

Dyce's first


[ocr errors]

Dyce's revised

[ocr errors]


[merged small][ocr errors]


[ocr errors][ocr errors][merged small][ocr errors][merged small]
[blocks in formation]

Text of the play in Works of the British Dramatists,

[merged small][merged small][merged small][merged small][ocr errors][ocr errors][ocr errors][merged small][merged small][merged small]

Temple Dramatists' edition of the play, 1896.
The present editor.

J. B's conjectures in copy of Rob. (Brit. Mus. 11771d).
J. P. Collier's conjectures in copy of Dyce' (Brit. Mus.
11771 bbb 6).

[blocks in formation]

The troublesome raigne and la-
mentable death of Edward the
second, king of England: with the
tragicall fall of proud Mortimer.

Enter Gauestone reading on a letter that was
brought him from the king.

My father is deceast, come Gaueston,

And share the kingdom with thy deerest friend.
Ah words that make me surfet with delight :
What greater blisse can hap to Gaueston,
Then liue and be the fauorit of a king?

Sweete prince I come, these these thy amorous lines,

1 Add. Dyce.

Heading The troublesome.. Mortimer om. 1598 etc. Scene I. add. Rob. S.D. reading on] reading of ?1593 these] these ?1593

Act I.

6 these

« ZurückWeiter »