John Marston was a prominent figure in the literary scene of late 16th and early 17th-century England. Born in Oxfordshire in 1576, he was the son of an English lawyer and his Italian wife, a heritage that perhaps influenced his diverse literary style. Over the years, Marston dabbled in poetic satire and drama, earning both praise and controversy for his work.

Early Life and Education

John Marston entered the world in Oxfordshire and was baptized on October 7, 1576. His father, a practicing lawyer, and his mother, who hailed from Italy, provided a unique cultural backdrop for his upbringing. Marston's academic journey began at Brasenose College, Oxford, where he enrolled on February 4, 1592. He pursued his studies there until February 6, 1594, when he achieved a Bachelor of Arts degree. Following his graduation, Marston transitioned to the Middle Temple to study law. Despite a promising start, his father expressed disappointment, suggesting Marston did not complete his legal education.

Literary Beginnings

Marston's initial foray into the literary world encompassed works of Ovidian eroticism and poetic satire. His early publications, The Metamorphosis of Pigmalion’s Image and The Scourge of Villanie, display his spirited critique of societal vices. These works, marked by conventional indignation, carved a niche for Marston in literary circles. In September 1599, theater manager Philip Henslowe documented payment to a "Mr. Maxton the new poete," likely referring to Marston given Henslowe's notorious spelling errors. Subsequently, Marston distanced himself from Henslowe's circle, aligning with Paul’s Boys and potentially revising Histriomastix around 1599. His contributions also included writing the Antonio plays and Jack Drum’s Entertainment. The dating of these works remains uncertain, leaving the influence between Antonio’s Revenge and Shakespeare's Hamlet ambiguous, though both drew heavily from Thomas Kyd’s earlier Spanish Tragedy.

The War of the Theaters

Marston is perhaps most famously associated with the War of the Theaters, a literary feud that pitted him and Thomas Dekker against Ben Jonson. Jonson, upon discovering plans of a satirical portrayal of him by Marston and Dekker, preemptively penned Poetaster. This work featured characters Crispinus and Demetrius, unmistakably modeled after Marston and Dekker. In a vivid scene, Crispinus undergoes a purge, regurgitating some of Marston's more extravagant linguistic choices. Dekker, possibly aided by Marston, retaliated with Satiromastix, lampooning Jonson. Marston's own play What You Will further attacked Jonson, highlighting the intense rivalry.

Reconciliation and Collaboration

Despite the animosity, by 1604, Marston and Jonson had reconciled, evidenced by Marston dedicating his play The Malcontent to Jonson. The following year, Marston's commendatory verses appeared in Jonson’s publication of Sejanus. Their collaboration extended to the co-writing of Eastward Ho! with George Chapman. This collaboration resulted in controversy, as satirical content in the play led to the imprisonment of Chapman and Jonson. Marston, however, avoided documented repercussions, although Chapman and Jonson claimed innocence regarding the contentious sections, potentially straining their renewed camaraderie.

Later Years and Personal Life

E. K. Chambers notes Marston's marriage to "Mary, probably the daughter of one of James’s chaplains." His fortunes took a downturn in 1608 when he faced imprisonment over a lost play that derided the Scots at court and depicted King James I as a drunkard. Marston’s dramatic career waned with the unfinished Insatiate Countess, later completed by William Barksteed, a minor actor and writer. This period marked a shift in Marston’s life as he abandoned playwriting.

Transition to Religious Life

In 1609, Marston took holy orders, embracing a new path as a clergyman. By 1616, he secured a position at a parish church in Hampshire. After serving for several years, he resigned from his pastoral duties in 1631. Marston's life concluded three years later, on June 25, 1634, in London’s Aldermanbury Parish.

Legacy

Critics, including Jonson in Poetaster, may have chastised Marston for his verbal extravagance, yet he remains a significant, albeit minor, literary figure. His works continue to be read, though they rarely grace modern stages. Marston's legacy endures, offering insights into the dynamic and often contentious world of Elizabethan and Jacobean drama.