MARLBOROUGH HOUSE. WA^RLO^f^E. MARLBOROUGH HOUSE. A numsion on (lie r~iiutli side of Pall ilall, London, erected in 1710 by Sir L'lu■i^toplu■r Wren for tlie first Duke of Marlborough. It was bought by the Ciovermnent in 1817. In it Princess Charlotte and her husband. Prince Leopold, and subse- quently the Queen Dowager Adelaide, lived. In 1863 it became the property and city residence of the Prince of Wales. MAR'LIN. A cit}' and the county-seat of Kails County, Tex., 27 miles southeast of Waco; at the junction of the International and (ireat Northern and the Houston and Texas Central railroads (Map: Texas, V 4). It is in a noted cotton-growing district and carries on an im- portant trade in cotton, grain, and live stock. Among the industrial plants are several cotton gins, a cotton compress, and a large cottonseed- oil mill. As a health resort, ilarlin has con- siderable reputation, derived from its hot ar- tesian well. SS.'jO feet deep, the waters of which liave a temperature of 147° F. and possess valu- able medicinal properties. There are fine hotels and sanatoriums. a court-house, an opera house, and a new school building costing $23,000. Pop- ulation, in KS9U, 2058; in 1900, 3092. MARLIN. A godwit (q.v.). MARLING SPIKE (from iiiarline. from Dutch tnarlijii, from nKirroi, to bind, Goth. marzjan, OHG. marrjan, dialectic Cier. merren, to retard, hinder, Eng. mrir + lijn, Eng. line), or Marline Spike. A ])ointed iron instrument, Tised by sailors in knotting, splicing, serving, etc. It is generally eight to twelve inches long, about an inch in diameter at the head and tapering to a ])oint at the other end. Its chief use is in separating the strands of rope or in opening out a knot which is jammed so tightly that it cannot be untied otherwise. In marling and in serving it is used as a heaver to haul the turns taut. A large wooden instrument of the same general shape is termed a fid. .See the article Knotting AND Splicing. MARLIN-SPIKE. The New Englanil name for the boatswain bird (q.v.). MAROilTT, E., the pseudonvm of Eugenie • roMN (182.5-87). A popular German novelist, born December 5, 1825, at Arnstadt, where she died, June 22, 1887. Her father was a portrait painter: her patroness was the Princess of Schwarzburg-Sondershausen. who sent her to Vienna to study music. She became deaf, lived for eleven years at Court, and then, withdrawing to Arnstadt, began there her novelistic career. Die zwolf Apostel (1805); (toldeise (1868): hnx Oeheimnis der alien Mamsell (1868) ; Thilr- iiuier Erziihhinyen (1869); Rrichsfirafin (Jisela (1870); neideprinzesschen (1872); Die zweite Frail (1874) ; and other novels are familiar in English translations. MAR'LOW, or CIreat Marlow. A mnnici- l)al borough in Buckinghamsliire, England, on the north bank of the Thames, 31 miles north- west of London (Map: England, F 5). It is a picturesque fishing resort. Here Shelley wrote the Revolt of Islam. It has manufactures of silk, lace, and paper. Population (urban dis- trict), in 1901, 4526. MARLOW. In Goldsmith's She Stoops to Conquer, a man of great modesty with virtuous women of station and vei-y free "with women of another class. He mistakes Hardcastle's house for an inn. and makes love to Miss Hardcastle, supposing her to be the barmaid. MARLOWE, mar'lo, CnRisTOPliER (1564- 93). A great English dranuitist, the most im- portant of Shakespeare's predecessors, and in some sense his master. He was born at Canter- bury, jirobably in February, 1564, and educated at the King's School there and at Corpus Christi College, Cambridge, where he graduated in 1583. Here he made a thorough acquaintance with the Latin classics, and translated Ovid's Amores into English verse. His life after leaving Cambridge is hard to trace in detail. It seems to have been S[)cnt chiefly in London and to have been char- acterized by a revolt against conventional moral- ity and established religion which makes its close in a drunken brawl at the age of twenty-nine an unhappily fitting climax. His reputation for heresy and irreligion (possibly grounded origi- nally on his association with his old Cambridge tutor. Francis Kett, who was burned as a heretic at Norwich in 1589) had caused a warrant for his arrest to be issued a few days before he thus passed beyond the jurisidiction of the Privy Council. It is pleasanter to dwell on his inter- course with the chief men of letters in his time, including Kyd, Nash, Greene, Chapman, Ral- eigh, and probably Shakespeare. Whatever his life may have been, there can be no question of the magnificence of his genius and the far-reach- ing influence which he had upon the development of the English drama. Not only did he establish the iambic pentam- eter as the recognized vehicle for serious drama, but he made it something more than it had been in various experiments since Corboduo (1562). The metre became a living thing in his hand; by skillful variation of pause and accent, by the swift and smooth carrying along of the thought from line to line, it grew to be that blank verse which Jlilton perfected into one of tile glories of English poetry. But his work was wider than this. Drop]iing the imitation of Seneca which had been trying to naturalize itself in England, he struck out boldly to create Eng- lish tragedy by the laws of his own genius. Tlie prologue to Tomhiirlnine contains what is really a manifesto, not only promising to lead his audi- ence away From jig:gin^ veiiiH of rliyniin^- iiiotlipr-wits by his blank verse, but proclaiming a doctrine of unity far more healthful than the classical tradi- tion which was endeavoring to impose itself upon England — the unity which comes from centring the action about one great passion, one mighty character. Great as was the age. stupendous as were its flights beyond what had been thought the uttermost limits of the possible. Marlowe is able to keep up with them, to find for them the 'high astounding terms' which lend his tragedies such sublimity. In humor he was deficient: his touch is not always sure, and in his search for effect he sometimes overleaps himself and falls into bathos; but as a daring pioneer he won. and now more than ever, since Lamb and Ilazlitt restored him to his place, keeps a rank among the very highest. It is hard to set limits to what he might have been had his life been prolonged; but after all his achievement is ample in that he made Shakespeare possible. After Tamhurhiine (?1587; printed 1590), comes prob- abl}' the first dramatic rendering of the Faust
