In the old quartos there appears not a line in any foreign language. But in the Shakespearian plays we find lines and exclamations in Latin scattered here and there, along with one in French.[2] If the early quartos are founded on a text taken down by ear, we can readily understand that the foreign expressions, not being understood, should be omitted. Such foreign sentences are extremely frequent in Marlowe, as in Kyd and the other older dramatists; they appear in season and out of season, but always in irreconcilable conflict with the sounder taste of our time. Marlowe would even suffer a dying man to break out in a French or Latin phrase as he gave up the ghost, and this occurs here in two places (at Clifford's death and Rutland's). Shakespeare, who never bedizens his work with un-English phrases, would certainly not place them in the mouths of dying men, and least of all foist them upon an earlier purely English text. Other additions also seem only to have restored the older form of the plays--those, to wit, which really add nothing new, but only elaborate, sometimes more copiously than is necessary or tasteful, a thought already clearly indicated. The original omission in such instances appears almost certainly to have been dictated by considerations of convenience in acting. One example is Queen Margaret's long speech in Part II., Act iii. 2, which is new with the exception of the first fourteen lines. But there is another class of additions and alterations which surprises us by being unmistakably in Marlowe's style. If these additions are really by Shakespeare, he must have been under the influence of Marlowe to a quite extraordinary degree. Swinburne has pointed out how entirely the verses which open the fourth act of the Second Part are Marlowesque in rhythm, imagination, and choice of words; but characteristic as are these lines-- "And now loud howling wolves arouse the jades That drag the tragic melancholy night," they are by no means the only additions which seem to point to Marlowe. We feel his presence particularly in the additions to Iden's speeches at the end of the fourth act, in such lines as-- "Set limb to limb, and thou art far the lesser; Thy hand is but a finger to my fist; Thy leg a stick, compared with this truncheon;" and especially in the concluding speech:-- "Die, damned wretch, the curse of her that bare thee! And as I thrust thy body in with my sword, So wish I, I might thrust thy soul to hell. Hence will I drag thee headlong by the heels Unto a dunghill, which shall be thy grave, And there cut off thy most ungracious head." There is Marlowesque emphasis in this wildness and ferocity, which reappears, in conjunction with Marlowesque learning, in Young Clifford's lines in the last act:-- "Meet I an infant of the house of York,. Into as many gobbets will I cut it, As wild Medea young Absyrtus did: In cruelty will I seek out my fame"--