The Jew of Malta shows very considerable advance towards a chaste and sober diction, but not much either in development of character or composition of parts.  Barabas the Jew is a horrible monster of wickedness and cunning, yet not without strong lines of individuality.  The author evidently sought to compass the effect of tragedy by accumulation of murders and other hellish deeds; which shows that he had no steady ideas as to wherein the true secret of tragic terror lies:  he here strives to reach it by overfilling the senses; whereas its proper method stands in the joint working of the moral and imaginative powers, which are rather stifled than kindled by causing the senses to “sup full of horrors.”  The piece, however, abounds in quick and caustic wit; in some parts there is a good share of dialogue as distinguished from speech-making; and the versification is far more varied and compact than in Tamburlaine.  Still the work, as a whole, shows little that can properly be called dramatic power as distinguished from the general powers of rhetoric and wit.

The Tragical History of Doctor Faustus, probably written before 1590, exhibits Marlowe in a higher vein of workmanship.  I think it must be acknowledged that he here wields the right elements and processes of tragic effect with no ordinary subtlety and power.  Faustus, the hero, is a mighty necromancer, who has studied himself into direct communion with preternatural beings, and beside whom Friar Bacon sinks into a tame forger of bugbears.  A Good Angel and a Bad Angel figure in the piece, each trying to win Faustus to his several way.  Lucifer is ambitious to possess “his glorious soul,” and the hero craves Lucifer’s aid, that he may work wonders on the Earth.  At his summons, Mephistophilis, who acts as Lucifer’s prime minister, visits him to negotiate an arrangement.  I must quote a brief passage from their interview: 

    “Faust.  Tell me, what is that Lucifer thy lord?

    Meph.  Arch-regent and commander of all spirits.

    Faust.  Was not that Lucifer an angel once?

    Meph.  Yes, Faustus, and most dearly lov’d of God.

    Faust.  How comes it, then, that he is Prince of Devils?

    Meph.  O, by aspiring pride and insolence! 
    For which God threw him from the face of Heaven.

    Faust.  And what are you that live with Lucifer?

    Meph.  Unhappy spirits that fell with Lucifer,
    And are for ever damn’d with Lucifer.

    Faust.  Where are you damn’d?

    Meph.  In Hell.

    Faust.  How comes it, then, that thou art out of Hell?