413:. At that point, he stopped his dramatic career altogether, selling his shares in the company of Blackfriars. His departure from the literary scene may have been because of another play, now lost, which offended the king. It seems that the French ambassador complained to King James about the disrespectful treatment of the French court in plays by Chapman performed at Blackfriars. To strengthen his case he added that another play had been performed in which James himself was depicted drunk. Incensed, James suspended performances at Blackfriars and had Marston imprisoned. This suggests that he was the author of the offending play.
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131:, in 1598. (Marston issued these satires under the pseudonym "W. Kinsayder.") The satire in these books is even more savage and misanthropic than was typical for the decade's satirists. Marston's style is, moreover, in places contorted to the point of unintelligibility: he believed that satire should be rough and obscure, perhaps because he thought (as did many other writers of the time) that the term 'satire' was derived from the Greek '
349:
88:, in 1592 and received his BA in 1594. By 1595, he was in London, living in the Middle Temple, where he had been admitted a member three years previously. He had an interest in poetry and play writing, although his father's will of 1599 expresses the hope that he would give up such vanities. He married Mary Wilkes in 1605, daughter of the Reverend William Wilkes, one of
561:
saw that this "irregular demesne" was a part of
Marston's world and declared that "It is … by giving us the sense of something behind, more real than any of the personages and their action, that Marston establishes himself among the writers of genius". Marston's tragic style is Senecan and although
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Outside of these tensions, Marston's career continued to prosper. In 1603, he became a shareholder in the
Children of Blackfriars company, at that time known for steadily pushing the allowable limits of personal satire, violence, and lewdness on stage. He wrote and produced two plays with the
291:. Jonson criticised Marston for being a false poet, a vain, careless writer who plagiarised the works of others and whose own works were marked by bizarre diction and ugly neologisms. For his part, Marston may have satirized Jonson as the complacent, arrogant critic Brabant Senior in
570:; Act 1, scene 1, line 45) in those around them, actually bring to life "a pattern behind the pattern into which the characters deliberately involve themselves: the kind of pattern which we perceive in our own lives only at rare moments of inattention and detachment".
316:
If Jonson can be trusted, the animosity between himself and
Marston went beyond the literary. He claimed to have beaten Marston and taken his pistol. However, the two playwrights were reconciled soon after the so-called War; Marston wrote a prefatory poem for Jonson's
197:; more recent scholars have noted that the ban was not enforced with great rigor and might not have intimidated prospective satirists at all. At any rate, Marston proved a good match for the stage—not the public stage of Henslowe, but the "private" playhouses where
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in 1603; this satiric tragicomedy is
Marston's most famous play. This work was originally written for the children at Blackfriars, and was later taken over (perhaps stolen) by the Kings' Men at the Globe, with additions by John Webster and (perhaps) Marston himself.
380:. Chapman and Jonson were arrested for, according to Jonson, a few clauses that offended the Scots, but Marston escaped any imprisonment. The actual cause of arrest and details of the brief detainment are not certainly known; in the event, charges were dropped.
51:
periods. His career as a writer lasted only a decade. His work is remembered for its energetic and often obscure style, its contributions to the development of a distinctively
Jacobean style in poetry, and its idiosyncratic vocabulary.
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praised
Marston's genius for satire; however, if the romantic critics and their successors were willing to grant Marston's best work a place among the great accomplishments of the period, they remained aware of his inconsistency, what
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on 24 December 1609. Contemporary authors were bemused or surprised by
Marston's change of career, with several of them commenting on its seeming abruptness. In October 1616, Marston was assigned the living of
469:" ("Sacred to Oblivion"), which was probably composed by Marston, and, according to Joshua Scodel, the short "epitaph is thus both self-abasing and witty in its novel inversion of tradition".
562:
his characters may appear, on Eliot's own admission, "lifeless", they are instead used as types to convey their "theoretical implications". Eliot in particular admired
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and
Marston's role in the war of the poets ensured that his plays would receive some scholarly attention, but they were not performed and were not even widely read.
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and saw how
Marston's plays, with their apparently stylised characters and bitter portrayal of a world where virtue and honour only arouse "dangerous envy" (
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In the twentieth century, however, a few critics were willing to consider
Marston as a writer who was very much in control of the world he creates.
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538:, perhaps the eighteenth century's most devoted reader of Jonson, called Marston "the most scurrilous, filthy and obscene writer of his time".
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as a playwright. Following the work of O. J. Campbell, it has commonly been thought that Marston turned to the theatre in response to the
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After the Restoration, Marston's works were largely reduced to the status of a curiosity of literary history. The general resemblance of
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457:" ("Sacred to the memory") followed by the name of the tomb's occupant and an account of their achievements even though such words are
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has been regarded as his first play; performed by either the Children of Paul's or the students of the Middle Temple in around
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734:(London: Printed by J. Roberts & sold by J. Buzbie, 1598; revised and enlarged edition, London: J. Roberts, 1599).
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163:. Marston had, however, arrived on the literary scene as the fad for verse satire was to be checked by censors. The
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233:, a sequel to the latter play; all three were performed by the company at Paul's. In 1601, he contributed poems to
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By 1601, he was well known in London literary circles, particularly in his role as enemy to the equally pugnacious
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329:, he criticized Jonson for being too pedantic to make allowances for his audience or the needs of aesthetics.
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between Marston, Jonson and Dekker that took place between around 1599 and 1602. In c. 1600, Marston wrote
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The Spectacle Presented to the Sacred Majesties of Great Britain, and Denmark as They Passed through London
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in 1601 and 1602, characterised Marston as a poet whose writings see him "pissing against the world".
43:(baptised 7 October 1576 – 25 June 1634) was an English playwright, poet and satirist during the late
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movement in English literature resuscitated Marston's reputation, albeit unevenly. In his lectures,
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Marston's reputation has varied widely, like that of most of the minor Renaissance dramatists. Both
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he satirized the king specifically. However, in the summer of that year, he put on a production of
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T.S. Eliot, Selected Essays, London: Faber, 1932, reprinted and enlarged, 1934, repr. 1999), p. 232
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Marston's brief career in literature began with a foray into the then-fashionable genres of erotic
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makes a laudatory but superficial comment about Marston in his survey of English dramatic poets.
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After the end of his literary career, he moved into his father-in-law's house and began studying
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and had it publicly burned, along with copies of works by other satirists, on 4 June 1599.
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verse on King James that was presented by hand to the king. Finally, in 1607, he wrote
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that Marston had accused him of sexual profligacy, satirized Marston as Clove in
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The English Poetic Epitaph: Commemoration and Conflict from Jonson to Wordsworth
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In 1606, Marston seems to have offended and then soothed King James. First, in
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performed racy dramas for an audience of city gallants and young members of the
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139:'s claim to be the first satirist in English; Hall comes in for some indirect
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1028:(Michael Scott, John Marston's Plays: Theme, Structure and Performance, 1977)
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preferred Marston's satires to Bishop Hall's; in the next century, however,
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and as the envious, misanthropic playwright and satirist Lampatho Doria in
48:
728:. And Certaine Satyres (London: Printed by J. Roberts for E. Matts, 1598).
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For Henslowe, he may have collaborated with Dekker, Day, and Haughton on
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T.S.Eliot, Elizabethan Essays (London: Faber & Faber, 1934) p189−90
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862:(London: Printed by A. Mathewes for W. Sheares, 1633); republished as
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and a contradiction to the Christian virtues of modesty. According to
366:, a satire on lust and hypocrisy, in 1604–5. In 1605, he worked with
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768:(London: Printed by R. Bradock for M. Lownes & T. Fisher, 1602).
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Jacke Drums Entertainment: Or, The Comedie of Pasquill and Katherine
446:. He died on 24 June 1634, aged 57, in London and was buried in the
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Knowles, James (May 2009) , "Marston, John (bap. 1576, d. 1634)",
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in a later generation called his "uneven and irregular demesne".
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The first edition of this text is available at Wikisource:
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The Best Actors in the World: Shakespeare and His Acting Company
900:(London: Printed for F. K. & sold by Robert Pollard, 1657).
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205:. Traditionally, though without strong external attribution,
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The Metamorphosis of Pigmalion's Image and Certaine Satyres
1118:(illustrated ed.), Cornell University Press, p.
16:
16th/17th-century English poet, playwright, and satirist
362:
Marston's second play for the Blackfriars children was
866:(London: Printed by A. Mathewes for W. Sheares, 1633).
806:(London: Printed by T. Purfoote for J. Hodgets, 1605).
796:, by Marston, Chapman, and Jonson (London: Printed by
812:(London: Printed by T. Purfoote for W. Cotton, 1606).
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Tombs at that time often started with the formulaic "
116:, a book of poetry in imitation of, on the one hand,
774:(London: Printed by R. Bradock for T. Fisher, 1602).
1001:
989:
688:The Entertainment of the Dowager-Countess of Darby
189:In September 1599, John Marston began to work for
1172:. Vol. XV (9th ed.). 1883. p. 575.
829:(London: Printed by G. Eld for T. Thorppe, 1607).
84:and ultimately its steward. John Marston entered
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732:The Scourge of Villanie. Three Bookes of Satyres
1399:17th-century English dramatists and playwrights
1394:16th-century English dramatists and playwrights
489:. The subplot of the latter was converted to a
485:remained on stage in altered forms through the
1109:. Vol. 36. London: Smith, Elder & Co.
127:. He also published another book of satires,
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1075:(online ed.), Oxford University Press,
184:
465:John Marston's tomb stone bore the legend "
60:Marston was born to John and Maria Marston
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1207:
472:
72:. His father was an eminent lawyer of the
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959:Learn how and when to remove this message
870:Comedies, Tragi-comedies; & Tragedies
657:, London, Blackfriars theatre, 1604–1605.
355:: co-author (with Marston and Jonson) of
143:in at least one of the satires. Some see
135:'. Marston seems to have been enraged by
922:This article includes a list of general
881:Lust's Dominion, or The Lascivious Queen
347:
254:
64:Guarsi, and baptised 7 October 1576, at
27:
1404:English male dramatists and playwrights
1072:Oxford Dictionary of National Biography
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497:; after the Stuart Restoration, either
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34:The Metamorphosis of Pigmalion's Image
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1059:
1055:, New York: Columbia University Press
995:
821:(London: Printed by J. Windet, 1606).
726:The Metamorphosis of Pigmalions Image
425:. In 1609, he became a reader at the
908:
748:Loves Martyr: or, Rosalins Complaint
677:, London, Blackfriars theatre, 1606.
665:, London, Blackfriars theatre, 1605.
641:, London, Blackfriars theatre, 1604.
605:, London, Paul's theatre, 1599/1600.
597:, London, Paul's theatre, 1599–1600.
507:The Revenge, or The Match in Newgate
21:For the 19th-century dramatist, see
1379:Alumni of Brasenose College, Oxford
1093:
984:The Return from Parnassus, Part Two
250:
13:
1193:The Works of John Marston, vol. 3.
1186:The Works of John Marston, vol. 2.
1178:The Works of John Marston, vol. 1.
1100:"Marston, John (1575?-1634)"
928:it lacks sufficient corresponding
766:The History of Antonio and Mellida
762:(London: Printed for E. B., 1601).
14:
1420:
1364:17th-century English male writers
1181:A. H. Bullen, ed. at Google Books
1136:
633:, 1603–1604; Globe Theatre, 1604.
213:, it appears to have sparked the
155:, as well as the mad speeches of
1106:Dictionary of National Biography
913:
309:, a satirical play performed at
838:(London: Printed by G. Eld for
819:, or The Tragedie of Sophonisba
621:, London, Paul's theatre, 1601.
613:, London, Paul's theatre, 1600.
99:
80:and then became the counsel to
1374:English Renaissance dramatists
1152:Works by or about John Marston
1053:Shakespeare and the Poets' War
1031:
1022:
1013:
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332:
306:The Return from Parnassus (II)
1:
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884:(presumably the same play as
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311:St. John's College, Cambridge
32:Title page of John Marston's
1384:Members of the Middle Temple
1088:UK public library membership
860:The Workes of Mr. J. Marston
7:
385:Parasitaster, or, The Fawn,
280:Every Man Out of His Humour
10:
1425:
1389:16th-century English poets
1359:17th-century English poets
886:The Spanish Moor's Tragedy
810:Parasitaster, or The Fawne
579:Plays and production dates
505:updated the main plot for
402:The Entertainment at Ashby
273:. Jonson, who reported to
20:
1294:Parasitaster, or The Fawn
1262:Jack Drum's Entertainment
1240:
638:Parasitaster, or The Fawn
602:Jack Drum's Entertainment
534:reversed this judgment.
293:Jack Drum's Entertainment
223:Jack Drum's Entertainment
185:Playwriting with Henslowe
120:, and, on the other, the
86:Brasenose College, Oxford
904:
573:
338:company. The first was
165:Archbishop of Canterbury
112:. In 1598, he published
1169:Encyclopædia Britannica
1114:Scodel, Joshua (1991),
1051:Bednarz, James (2001),
943:more precise citations.
846:The Insatiate Countesse
683:, London, 31 July 1606.
473:Reception and criticism
444:Christchurch, Hampshire
229:, and in 1601 he wrote
161:The Scourge of Villanie
129:The Scourge of Villanie
55:
1326:The Insatiate Countess
1081:10.1093/ref:odnb/18164
864:Tragedies and Comedies
836:: Or, The Player Whipt
704:The Insatiate Countess
437:on 24 September and a
359:
321:in 1605 and dedicated
266:
37:
1163:"Marston, John"
1143:Works by John Marston
1060:Grote, David (2002),
856:for T. Archer, 1613).
800:for W. Aspley, 1605).
351:
258:
31:
23:John Westland Marston
852:(London: Printed by
782:(London: Printed by
744:for R. Olive, 1601).
740:(London: Printed by
672:, or The Tragedy of
448:Middle Temple Church
262:: rival, co-author,
195:Bishops' Ban of 1599
76:who first argued in
1318:The Wonder of Women
1310:The Dutch Courtesan
1254:Antonio and Mellida
986:, I.ii, ll. 266–70.
817:The Wonder of Women
804:The Dutch Courtezan
756:William Shakespeare
713:Whitefriars Theatre
670:The Wonder of Women
662:The Dutch Courtesan
631:Blackfriars Theatre
594:Antonio and Mellida
483:The Dutch Courtesan
389:The Dutch Courtesan
364:The Dutch Courtesan
227:Antonio and Mellida
215:War of the Theatres
145:William Shakespeare
1409:English male poets
411:Earl of Huntingdon
370:and Ben Jonson on
360:
325:to Jonson. Yet in
287:, and as Hedon in
283:, as Crispinus in
267:
38:
1369:English satirists
1336:
1335:
1270:Antonio's Revenge
1147:Project Gutenberg
1086:(Subscription or
969:
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848:, by Marston and
707:, by Marston and
693:Ashby-de-la-Zouch
610:Antonio's Revenge
518:Antonio's Revenge
395:'s visit, with a
231:Antonio's Revenge
159:as influenced by
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850:William Barksted
772:Antonios Revenge
709:William Barksted
511:Gerard Langbaine
503:Thomas Betterton
467:Oblivioni Sacrum
427:Bodleian Library
391:for the King of
289:Cynthia's Revels
251:Feud with Jonson
175:Richard Bancroft
172:Bishop of London
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1354:1634 deaths
1349:1576 births
1265:(1599–1600)
1257:(1599–1600)
1095:Lee, Sidney
1064:, Greenwood
1008:Scodel 1991
941:introducing
646:Eastward Ho
559:T. S. Eliot
493:during the
487:Restoration
373:Eastward Ho
333:Blackfriars
199:boy players
177:banned the
137:Joseph Hall
133:satyr plays
70:Oxfordshire
45:Elizabethan
1343:Categories
1090:required.)
1045:References
996:Grote 2002
924:references
854:T. Snodham
752:Ben Jonson
711:, London,
674:Sophonisba
655:Ben Jonson
629:, London,
568:Sophonisba
564:Sophonisba
499:Aphra Behn
423:philosophy
417:Later life
271:Ben Jonson
260:Ben Jonson
125:of Juvenal
90:King James
66:Wardington
47:and early
788:W. Aspley
784:V. Simmes
742:T. Creede
552:Swinburne
459:hubristic
285:Poetaster
157:King Lear
149:Thersites
94:chaplains
1305:(1604–5)
1289:(1603–4)
894:John Day
842:, 1610).
840:T. Thorp
790:, 1604).
715:, 1608?.
543:Romantic
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170:and the
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1154:at the
937:improve
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393:Denmark
319:Sejanus
264:frenemy
179:Scourge
141:flyting
123:Satires
1329:(1608)
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1297:(1604)
1281:(1601)
1273:(1600)
1249:(1599)
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926:, but
896:, and
798:G. Eld
758:, and
653:, and
589:, 1599
523:Hamlet
439:priest
435:deacon
431:Oxford
407:masque
217:, the
110:satire
78:London
36:, 1598
1230:Plays
905:Notes
720:Books
574:Works
491:droll
397:Latin
1124:ISBN
786:for
541:The
481:and
405:, a
327:1607
225:and
211:1599
153:Iago
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1232:by
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