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 King Richard III. As certain is it that but for him this play could never have been written. At a later date the subject would have been handled otherwise, had the poet chosen to handle it at all; and in his youth he could not have treated it as he has without the guidance and example of Marlowe. Not only are its highest qualities of energy, of exuberance, of pure and lofty style, of sonorous and successive harmonies, the very qualities that never fail to distinguish those first dramatic models which were fashioned by his ardent hand; the strenuous and single-handed grasp of character, the motion and action of combining and contending powers, which here for the first time we find sustained with equal and unfaltering vigour throughout the length of a whole play, we perceive, though imperfectly, in the work of Marlowe before we can trace them even as latent or infant forces in the work of Shakespeare.

In the exquisite and delightful comedies of his earliest period we can hardly discern any sign, any promise of them at all. One only of these, the Comedy of Errors, has in it anything of dramatic composition and movement; and what it has of these, I need hardly remind the most cursory of students, is due by no means to Shakespeare. What is due to