' In short, he confers upon him all the qualities
of a 'Hamlet' character.
Whenever religious questions are addressed to Malevole, we have to
look upon him as the very type of Shakspere himself, whom Marston
takes to task for his spirit of 'innovation' and his 'contempt of
holy policie and establisht unity.' Shakspere, it ought to be
remembered, had scourged Ben Jonson under the figure of Malvolio.
Marston, who dedicates 'The Malcontent' to Jonson, no doubt wished
to please Jonson by calling the chief character, which represents
Shakspere, Malevole.
The play opens with an abominable charivari. ('The vilest out-of-time
musicke being heard.') This is partly a hit against the Globe Theatre
where--as we see from Shakspere's dramas--music was often introduced
in a play; partly it is to indicate the disharmony of Malevole's
mind.
Only a few travesties may be mentioned here, before we quote the
treatment of religious questions.
In act i. sc. 7 (here the scene is ridiculed in which Hamlet, with
drawn sword, stands behind the King), Pietro enters, 'his sword drawne.'
_Pietro_. A mischiefe fill thy throate, thou fowle-jaw'd slave!
Say thy praiers!
_Mendozo_. I ha forgot um.
_Pietro_. Thou shall die.
_Mendozo_. So shall Ihou. I am heart-mad.
_Pietro_. I am horne-mad.
_Mendozo_. Extreme mad.
_Pietro. Monstrously mad.
_Mendozo_.
Pages:
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206