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 crowning masterpiece was founded, the poet's moral and spiritual power of transfiguration is here even more admirable than in the previous case of his other and wellnigh coequally consummate poem. The narrative degrades and brutalises the widowed heroine's affection for her second husband to the actual level of the vile conception which the poet attributes and confines to the foul imagination of her envious and murderous brothers. Here again, and finally and supremely here, the purifying and exalting power of Webster's noble and magnanimous imagination is gloriously unmistakable by all and any who have eyes to read and hearts to recognise.

For it is only with Shakespeare that Webster can ever be compared in any way to his disadvantage as a tragic poet: above all others of his country he stands indisputably supreme. The place of Marlowe indeed is higher among our poets by right of his primacy as a founder and a pioneer: but of course his work has not—as of course it could not have—that plenitude and perfection of dramatic power in construction and dramatic subtlety in detail which the tragedies of Webster share in so large a measure with the tragedies of Shakespeare. Marston, the poet with whom he has most in common, might almost be said to stand in the same relation to Webster as