Shakespeare's style as of his master's; but even were this one verse less in the manner of the elder than the younger poet—and this we can hardly say that it is—no single verse detached from its context can weigh a feather against the full and flawless evidence of the whole speech. And of all this there is nothing in the Contention; the scene there opens in bald and flat nakedness of prose, striking at once into the immediate matter of stage business without the decoration of a passing epithet or a single trope.
From this sample it might seem that the main difficulty must be to detect anywhere the sign-manual of Shakespeare, even in the best passages of the revised play. On the other hand, it has not unreasonably been maintained that even in the next scene of this same act in its original form, and in all those following which treat of Cade's insurrection, there is evidence of such qualities as can hardly be ascribed to any hand then known but Shakespeare's. The forcible realism, the simple vigour and lifelike humour of these scenes, cannot, it is urged, be due to any other so early at work in the field of comedy. A critic desirous to press this point might further insist on the likeness or identity of tone between these and all later scenes
