Page:A study of Shakespeare (IA cu31924013158393).pdf/147

 murderer of his father is not comparable for depth and subtlety of effect with the scene in which Arden's friend Franklin, riding with him to Raynham Down, breaks off his "pretty tale" of a perjured wife, overpowered by a "fighting at his heart," at the moment when they come close upon the ambushed assassins in Alice Arden's pay. But the internal evidence in this case, as I have already intimated, does not hinge upon the proof or the suggestion offered by any single passage or by any number of single passages. The first and last evidence of real and demonstrable weight is the evidence of character. A good deal might be said on the score of style in favour of its attribution to a poet of the first order, writing at a time when there were but two such poets writing for the stage; but even this is here a point of merely secondary importance. It need only be noted in passing that if the problem be reduced to a question between the authorship of Shakespeare and the authorship of Marlowe there is no need and no room for further argument. The whole style of treatment from end to end is about as like the method of Marlowe as the method of Balzac is like the method of Dumas. There could be no alternative in that case; so that the actual