Page:George Chapman, a critical essay (IA georgechapmancri00swin).pdf/175

 of Italy and France, whose songs were full of sweet tradition from oversea, of memories and notes which "came mended from their tongues,"—he alone was the true Apollo of our dawn, the bright and morning star of the full midsummer day of English poetry at its highest. Chaucer, Wyatt, and Spenser had left our language as melodious, as fluent, as flexible to all purposes of narrative or lyrical poetry as it could be made by the grace of genius; the supreme note of its possible music was reserved for another to strike. Of English blank verse, one of the few highest forms of verbal harmony or poetic expression, the genius of Marlowe was the absolute and divine creator. By mere dint of original and godlike instinct he discovered and called it into life; and at his untimely and unhappy death, more lamentable to us all than any other on record except Shelley's, he left the marvellous instrument of his invention so nearly perfect that Shakespeare first and afterwards Milton came to learn of him before they could vary or improve on it. In the changes rung by them on the keys first tuned by Marlowe we trace a remembrance of the touches of his hand;