to the original work of Marlowe and others; for that this original was the work of more hands than one, and hands of notably unequal power, we have again the united witness of traditional and internal evidence to warrant our belief: and that among the omissions of this imperfect text were certain passages of the original work, which were ultimately restored in the final revision of the entire poem as it now stands among the collected works of Shakespeare. No competent critic who has given due study to the genius of Marlowe will admit that there is a single passage of tragic or poetic interest in either form of the text, which is beyond the reach of the father of English tragedy: or, if there be one seeming exception in the expanded and transfigured version of Clifford's monologue over his father's corpse, which is certainly more in Shakespeare's tragic manner than in Marlowe's, and in the style of a later period than that in which he was on the whole apparently content to reproduce or to emulate the tragic manner of Marlowe, there is at least but this one exception to the general and absolute truth of the rule; and even this great tragic passage is rather out of the range of Marlowe's style than beyond the scope of his genius. In the later as in the earlier version of these plays, the one manifest excellence of which we have no reason to suppose him capable is manifest in the comic or prosaic scenes alone. The first great rapid sketch of the dying cardinal, afterwards so nobly enlarged and perfected on revision by the same or by a second artist, is as clearly within the capacity of Marlowe as of Shakespeare; and in either edition of the latter play, successively known as _The True Tragedy of Richard Duke of York_, as the _Second Part of the Contention_, and as the _Third Part of King Henry VI_., the dominant figure which darkens all the close of the poem with presage of a direr day is drawn by the same strong hand in the same tragic outline. From the first to the last stage of the work there is no mark of change or progress here; the whole play indeed has undergone less revision, as it certainly needed less, than the preceding part of the _Contention_. Those great verses which resume the whole spirit of Shakespeare's Richard--finer perhaps in themselves than any passage of the play which bears his name--are wellnigh identical in either form of the poem; but the reviser, with admirable judgment, has struck out, whether from his own text or that of another, the line which precedes them in the original sketch, where the passage runs thus:-- I had no father, I am like no father; I have no brothers, I am like no brother; (this reiteration is exactly in the first manner of our tragic drama;) And this word love, which greybeards term divine, etc.