yet so near him in science and in skill, so like him in brilliance and in force;—it is in these that we find theatrical instinct twin-born with imaginative impulse, dramatic power with inventive perception.
In the second historic play which can be wholly ascribed to Shakespeare we still find the poetic or rhetorical duality for the most part in excess of the dramatic; but in King Richard III. the bonds of rhyme at least are fairly broken. This only of all Shakespeare's plays belongs absolutely to the school of Marlowe. The influence of the elder master, and that influence alone, is perceptible from end to end. Here at last we can see that Shakespeare has decidedly chosen his side. It is as fiery in passion, as single in purpose, as rhetorical often though never so inflated in expression, as Tamburlaine itself. It is doubtless a better piece of work than Marlowe ever did; I dare not say, than Marlowe ever could have done. It is not for any man to measure, above all is it not for any workman in the field of tragic poetry lightly to take on himself the responsibility or the authority to pronounce, what it is that Christopher Marlowe could not have done; but, dying as he did and when he did, it is certain that he has not left us a work so generally and so variously admirable as
