nies upon. I must
add that considerable portions both of this play and the preceding are
meant to be comical. But the result only proves that Marlowe was
incapable of comedy. No sooner does he attempt the comic vein than his
whole style collapses into mere balderdash. In fact, though
plentifully gifted with wit, there was not a particle of real humour
in him; none of that subtle and perfusive essence out of which the
true comic is spun; for these choice powers can hardly live but in the
society of certain moral elements that seem to have been left out of
his composition.

_Edward the Second_, probably the latest, certainly much the best, of
Marlowe's dramas, was printed in 1598. Here, for the first time, we
meet with a genuine specimen of the English Historical Drama. The
scene covers a period of twenty years; the incidents pass with great
rapidity, and, though sometimes crushed into indistinctness, are for
the most part well used both for historic truth and dramatic effect;
and the dialogue, generally, is nervous, animated, and clear. In the
great article of character, too, this play has very considerable
merit. The King's insane dotage of his favourites, the upstart vanity
and insolence of Gaveston, the artful practice and doubtful virtue of
Queen Isabella, the factious turbulence of the nobles, irascible,
arrogant, regardless of others' liberty, jealous of their own, sudden
of quarrel, eager in revenge, are all depicted with a goodly mixture
of energy and temperance. Therewithal the versification moves,
throughout, with a freedom and variety, such as may almost stand a
comparison with Shakespeare in what may be called his earlier period;
as when, for instance, _King Richard the Second_ was written. It is
probable, however, that by this time, if not before, Marlowe had begun
to feel the power of that music which was to charm him, and all others
of the time, out of audience and regard. For we have very good
evidence, that before Marlowe's death Shakespeare had far surpassed
all of that age who had ever been competent to teach him in any point
of dramatic workmanship.

Marlowe is of consequence, _mainly_, as one of the first and greatest
improvers of dramatic poetry in so far as relates to diction and
metrical style; which is my reason for emphasizing his work so much in
that regard. But, as this is a virtue much easier felt than described,
I can best show what it is, by giving a taste of it; which however
must be br