A similar unity governs the structure of "Faustus" and "The Jew." In each there are many actions, some comic, instead of one serious action, and the history of a lifetime instead of a great emotional crisis; but in each the dominant figure and the course of his controlling passion impose a certain unity of structure. Both begin with soliloquies, revealing the protagonists at the height of fortune and about to face crises in their careers; and it is significant of the increased importance given to inner conflict that reflective soliloquies, neglected in "Tamburlaine," play a considerable part, especially in "Faustus." In both plays there is also advance in the clear conception of catastrophe, which now controls the structure. In "The Jew" his thwarted lust for gold drives him through a series of villanous triumphs over difficulties until he is melodramatically hoist with his own petard. In "Faustus" the choice of the devilish magic leads through apparent success, past opportunities for repentance, to final remorse and damnation. In both plays, the domination of the protagonist by a passion, its conflicting joys and sorrows, and its final failure become points for emphasis. The history of a life thus becomes organized into a tragedy. In "Edward II," Marlowe's masterpiece in structure as in other respects, there is an absence of comedy, for which he seems to have had no aptitude, and adherence to the chronicles is governed by his maturing sense of the structural principles which should proportion the tragic story. Twenty years of confusion are condensed into five acts which attain dramatic organization not only under the direction of the central personality and the inevitable catastrophe, but also from the skillful handling of the counter-force. The play begins with a salient manifestation in the recall of Gaveston of the passion which is to be the king's downfall. The hazardous combination of the two similar careers of Gaveston and Spenser is adroitly managed; it develops the central theme of Edward's weakness and brings into active conflict the counter-force of the barons under the leadership of Mortimer. The alternating triumph and discomfiture of the king in his struggle with the barons leads to the climax of their humiliation at the end of act iii; and thus the turning-point of the action is given an emphasis not found in earlier plays. Henceforth the counter-force is in the ascendant, and the catastrophe is realized with a tremendous power that justifies Lamb's extravagance: "the death scene of Marlowe's king moves pity and terror beyond any scene ancient or modern with which I am acquainted." The play, to be sure, has many faults of structure. It is the product of an immature period of the drama and of crude theatrical conditions; but it indicates clearly how Marlowe was developing tragic movement out of the confused narratives of the chronicles, and was giving to a presentation of diverse and crowded actions