The “villain-hero,” as he developed in the plays of Marlowe and in those of some later Elizabethans, is a distinct and important type of character. Moreover, he did not make his final exit with the ending of the Elizabethan period, but has reappeared at various times since, especially during the Romantic Revival at the end of the eighteenth century. This “Romantic Movement,” as we are accustomed to call it, was in many ways a revival of the earlier Romantic spirit which we call Elizabethanism. Nothing shows the resemblance between the two periods more strikingly than this habit of taking for the dominating figure in the story a man of great power, stained with crime.