In 1593, indeed, we find atheism formally charged against two famous men, Christopher Marlowe and Sir Walter Raleigh, of whom the first is documentarily connected with Kett, and the second in turn with Marlowe. An official document, [30] preserved by some chance, reveals that Marlowe was given--whether or not over the wine-cup--to singularly audacious derision of the received beliefs; and so explicit is the evidence that it is nearly certain he would have been executed for blasphemy had he not been privately killed (1593) while the proceedings were pending. The "atheism" imputed to him is not made out in any detail; but many of the other utterances are notably in keeping with Marlowe's daring temper; and they amount to unbelief of a stringent kind. In Doctor Faustus [31] he makes Mephistopheles affirm that "Hell hath no limits ... but where we are is hell"--a doctrine which we have seen to be current before his time; and in his private talk he had gone much further. Nashe doubtless had him in mind when he spoke of men of "superabundance of wit." Not only did he question, with Raleigh, the Biblical chronology: he affirmed "That Moyses was but a juggler, and that one Heriots" [i.e., Thomas Harriott, or Harriots, the astronomer, one of Raleigh's circle] "can do more than he"; and concerning Jesus he used language incomparably more offensive to orthodox feeling than that of Hamond and Kett. There is more in all this than a mere assimilation of Machiavelli; though the further saying "that the first beginning of religion was only to keep men in awe"--put also by Greene [if not by Marlowe], with much force of versification, in the mouth of a villain-hero in the anonymous play of Selimus [32]--tells of that influence. Marlowe was indeed not the man to swear by any master without adding something of his own. Atheism, however, is not inferrible from any of his works: on the contrary, in the second part of his famous first play he makes his hero, described by the repentant Greene as the "atheist Tamburlaine," declaim of deity with signal eloquence, though with a pantheistic cast of phrase. In another passage, a Moslem personage claims to be on the side of a Christ who would punish perjury; and in yet another the hero is made to trample under foot the pretensions of Mohammed. [33] It was probably his imputation of perjury to Christian rulers in particular that earned for Marlowe the malignant resentment which inspired the various edifying comments published after his unedifying death. Had he not perished as he did in a tavern brawl, he might have had the nobler fate of a martyr.