Page:A study of Shakespeare (IA cu31924013158393).pdf/51

 wholly in pure and fluent rather than vigorous or various blank verse; though I cannot discern in any of them an equality in power and passion to the magnificent scene of abdication in Marlowe's Edward II. This play, I think, must undoubtedly be regarded as the immediate model of Shakespeare's; and the comparison is one of inexhaustible interest to all students of dramatic poetry. To the highest height of the earlier master I do not think that the mightier poet who was as yet in great measure his pupil has ever risen in this the first (as I take it) of his historic plays. Of composition and proportion he has perhaps already a somewhat better idea. But in grasp of character, always excepting the one central figure of the piece, we find his hand as yet the unsteadier of the two. Even after a lifelong study of this as of all other plays of Shakespeare, it is for me at least impossible to determine what I doubt if the poet could himself have clearly defined—the main principle, the motive and the meaning of such characters as York, Norfolk, and Aumerle. The Gaveston and the Mortimer of Marlowe are far more solid and definite figures than these; yet none after that of Richard is more important to the scheme of Shakespeare. They are fitful, shifting, vaporous: their outlines change,