dramatic work of John Lyly. Elsewhere traces may be found of an appreciative study of the writings of Samuel Daniel, Sir Philip Sidney, and Thomas Lodge. But Marlowe alone of Shakespeare's contemporaries can be credited with exerting on him any Marlowe's
influence.substantial influence. Marlowe was in 1592 and 1593 at the zenith of his fame, and two of Shakespeare's earliest historical tragedies, ‘Richard III’ and ‘Richard II,’ which formed the natural sequel of his labours on ‘Henry VI,’ betray an ambition to follow in Marlowe's footsteps. In ‘Richard III’ Shakespeare takes up the history of England near the point at which the third part of ‘Henry VI’ left it. The subject was already familiar to dramatists, but Shakespeare sought his materials in Holinshed. A Latin piece, by Dr. Thomas Legge, had been in favour with academic audiences since 1579, and in 1594 the ‘Richard III.’‘True Tragedie of Richard III’ was published anonymously; but Shakespeare's piece bears little resemblance to either. Throughout Shakespeare's ‘Richard III’ the effort to emulate Marlowe is undeniable. It is, says Mr. Swinburne, ‘as fiery in passion, as single in purpose, as rhetorical often, though never so inflated in expression, as “Tamburlaine” itself.’ The turbulent piece was naturally popular. Burbage's impersonation of the hero was one of his most effective performances, and his vigorous enunciation of ‘A horse, a horse! my kingdom for a horse!’ gave the line proverbial currency.
‘Richard II’ seems to have followed ‘Richard III’ without delay. Subsequently both were published anonymously in the same year (1597) as they had ‘been publikely acted by the right Honorable the Lorde Chamberlaine his servants;’ but the deposition scene in ‘Richard II,’ which dealt with a topic distasteful to the queen, was omitted from the early impressions. Though ‘Richard II’ was in ‘Richard II.’style and treatment far less deeply indebted to Marlowe than its predecessor, it was clearly suggested by Marlowe's ‘Edward II,’ which it imitates at many points in the development and collapse of the weak king's character—the leading theme. Shakespeare drew the facts from Holinshed, but his embellishments are numerous and include the magnificently eloquent eulogy of England which is set in the mouth of John of Gaunt. Prose is avoided throughout the play, a certain sign of early work. The piece was probably composed very early in 1593. The ‘Merchant of Venice,’ which is of later date, bears a somewhat similar relation to Marlowe's ‘Jew of Malta.’
In ‘As you like it’ (iii. 5, 80) Shakespeare parenthetically commemorated his acquaintance with, and his general indebtedness to, the elder dramatist by apostrophising him in the lines
Dead Shepherd! now I find thy saw of might:
‘Who ever loved that loved not at first sight?
The second line is a quotation from Marlowe's poem ‘Hero and Leander.’
Between February 1593 and the end of the year the London theatres were closed, owing to the prevalence of the plague. But Shakespeare was busily employed, and before the close of 1594 gave marvellous proofs of his rapid powers of production.
‘Titus Andronicus’ was in his own lifetime claimed for Shakespeare, but Edward Ravenscroft [q. v.], who prepared a new version in 1678, wrote of it: ‘I have been ‘Titus
Andronicus.’told by some anciently conversant with the stage that it was not originally his, but brought by a private author to be acted, and he only gave some master-touches to one or two of the principal parts or characters.’ Ravenscroft's assertion deserves acceptance. The tragedy contains powerful lines and situations, but is far too repulsive in plot and treatment, and too ostentatious in classical allusions to connect it with Shakespeare's acknowledged work. Ben Jonson credits ‘Titus Andronicus’ with a popularity equalling Kyd's ‘Spanish Tragedy,’ and internal evidence shows that Kyd was capable of writing much of ‘Titus.’ It was suggested by a piece called ‘Titus and Vespasian,’ which Lord Strange's men played on 11 April 1592 (Henslowe, p. 24); this is only extant in a German version acted by English players in Germany, and published in 1620 (cf. Cohn, Shakespeare in Germany, pp. 155 et seq.). ‘Titus Andronicus’ was doubtless taken in hand soon after the production of ‘Titus and Vespasian’ in order to exploit popular interest in the topic. It was acted by the Earl of Sussex's men on 23 Jan. 1593–4, when it was described as a new piece; but that it was also acted subsequently by Shakespeare's company is shown by the title-pages of the first and second editions, which describe it as having been performed by the Earl of Derby's and the lord chamberlain's servants (successive titles of Shakespeare's company), as well as by those of the Earls of Pembroke and Sussex. It was entered on the ‘Stationers' Register’ to John Danter on 6 Feb. 1594 (Arber, ii. 644). Langbaine claims to have seen an edition of this date, but none earlier than that of 1600 is now known.
