' Those only he means to
combat 'whose unquiet studies labor innovation, contempt of holy
policie, reverent comely superioritie and establisht unity.' He fears
not for the rest of his 'supposed tartnesse; but unto every worthy
minde it will be approved so generall and honest as may modestly passe
with the freedome of a satyre.'
That this satire could only be directed against 'Hamlet,' every one
will be convinced who spends a short hour in reading Marston's
'Malcontent.' Here, too, we must confine ourselves to pointing out
only the most important allusions; especially such as refer to
religion. Indeed, we would have to copy the whole play, in order
to make it fully clear how much Marston, with his undoubted talent
for travesty, has succeeded in grotesquely deriding the lofty,
noble tone of Shakspere's drama.
The chief character in 'The Malcontent' is Malevole, the Duke of
Genoa before-mentioned, who has been wrongfully deprived of the
crown. With subtle dissimulation, disguised and unknown, he
hangs about the Court. Against the ladies especially, whom he
all holds to be adulteresses, he entertains the greatest mistrust.
He watches every one; but most closely women. He is the image of
mental distemper; and Pietro, the ruling Duke, describes him in
act i. sc. 2 by saying that 'the elements struggle within him; his
own soule is at variance within her selfe;' he is 'more discontent
than Lucifer.
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