Christopher Marlowe

Leigh Hunt, in Imagination and Fancy (1844) 140-41.

Marlowe, like Spenser, is to be looked upon as a poet who had no native precursors. As Spenser is to be criticised with an eye to his poetic ancestors, who had nothing like the Faerie Queene, so is Marlowe with reference to the authors of Gorboduc. He got nothing from them; he prepared the way for the versification, the dignity, and the pathos of his successors, who have nothing finer of the kind to show than the death of Edward the Second — not Shakspeare himself: — and his imagination, like Spenser's, haunted those purely poetic regions of ancient fabling and modern rapture, of beautiful forms and passionate expressions, which they were the first to render the common property of inspiration, and whence their language drew "empyreal air." Marlowe and Spenser are the first of our poets who perceived the beauty of words; not as apart from their significance, nor upon occasion only, as Chaucer did (more marvellous in that than themselves, or than the originals from whom he drew), but as a habit of the poetic mood, and as receiving and reflecting beauty through the feeling of the ideas.