tantial influence, was in
1592 and 1593 at the zenith of his fame. Two of Shakespeare's earliest
historical tragedies, 'Richard III' and 'Richard II,' with the story of
Shylock in his somewhat later comedy of the 'Merchant of Venice,' plainly
disclose a conscious resolve to follow in Marlowe's footsteps. In
'Richard III' Shakespeare, working single-handed, takes up the history of
England near the point at which Marlowe and he, apparently working in
partnership, left it in the third part of 'Henry VI.' The subject was
already familiar to dramatists, but Shakespeare sought his materials in
the 'Chronicle' of Holinshed. A Latin piece, by Dr. Thomas Legge, had
been in favour with academic audiences since 1579, and in 1594 the 'True
Tragedie of Richard III' from some other pen was published anonymously;
but Shakespeare's piece bears little resemblance to either. Throughout
Shakespeare's 'Richard III' the effort to emulate Marlowe is undeniable.
The tragedy is, says Mr. Swinburne, 'as fiery in passion, as single in
purpose, as rhetorical often, though never so inflated in expression, as
Marlowe's "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.'

'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. Prose is avoided throughout the play, a certain sign
of early work. The piece was probably composed very early in 1593.
Marlowe's tempestuous vein is less apparent in 'Richard II' than in
'Richard III.' But if 'Richard II' be in style and treatment less deeply
indebted to Marlowe than its predecessor, it was clearly suggested by
Marlowe's 'Edward II.' Throughout its exposition of the leading
theme--the development and collapse of the weak king's
character--Shakespeare's historical tragedy closely imitates Marlowe's.
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.