Marlowe: A Study of his Thought, Learning, and Character (Chapel
Hill, 1946). He has found in it 'the master-key to the mind of
Marlowe'. Kocher regards Marlowe as a highly subjective writer,
whose chief preoccupation was not drama but religion, and whose
'utterances represent a carefully designed attack on Christian
drama'. From contemporary treatises Kocher throws some useful
light on Marlowe's astronomical knowledge and his allusions to the
art of war. But his study, as a whole, though scholarly, presents
Marlowe in a wrong perspective. This may also be said of his
article from a similar standpoint on Marlowe as an individualist
in The University of Toronto Quarterly ( Jan. 1948).

An Italian volume on the dramatist by N. D'Agostino ( Rome,
1950) included an earlier article by him on Marlowe "'Ideologia'",
and two new studies of his plot-construction and his versification.
These were followed by a full bibliography, including a special
section on Italian translations and critical works.

Tucker Brooke in his posthumously published volume on Shake-
speare and other Elizabethans paid a last tribute to Marlowe, in
which, besides one or two more doubtful claims, he stated that
he 'taught drama the splendour of romance', had the rare Eliza-
bethan virtue of a sense of form, and a hatred of religious intoler-
ance which gained him the reputation of atheism.

A helpful and well-written introduction to the dramatist's
career and works has been supplied by Philip Henderson in his
Christopher Marlowe in the "'Men and Books'" series ( Longmans,
1952).

December, 1952

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