and in those which, in Part III., Act iv. 2, are placed in the mouth of Warwick:-- "Our scouts have found the adventure very easy: That as Ulysses, and stout Diomede, With sleight and manhood stole to Rhesus' tents, And brought from thence the Thracian fatal steeds; So we, well cover'd with the night's black mantle, At unawares may beat down Edward's guard, And seize himself." And as in the additions there are passages the whole style of which belongs to Marlowe, or bears the strongest traces of his influence, so also there are passages in the earlier text which in every respect recall the manner of Shakespeare. For example, in Part II., Act iii. 2, Warwick's speech:-- "Who finds the heifer dead, and bleeding fresh, And sees fast by a butcher with an axe, But will suspect 'twas he that made the slaughter?" or Suffolk's to Margaret:-- "If I depart from thee, I cannot live; And in thy sight to die, what were it else, But like a pleasant slumber in thy lap? Here could I breathe my soul into the air, As mild and gentle as the cradle-babe, Dying with mother's dug between its lips." Most Shakespearian, too, is the manner in which, in Part III., Act ii. I, York's two sons are made to draw their characters, each in a single line, when they receive the tidings of their father's death:-- "_Edward_. O, speak no more! for I have heard too much. _Richard_. Say, how he died, for I will hear it all." Again, we seem to hear the voice of Shakespeare when Margaret, after they have murdered her son before her eyes, bursts forth (Part III., Act v. 5):-- "You have no children, butchers! if you had The thought of them would have stirred up remorse." This passage anticipates, as it were, a celebrated speech in _Macbeth_. Most remarkable of all, however, are the Cade scenes in the Second Part. I cannot persuade myself that these were not from the very first the work of Shakespeare. It is evident that they cannot proceed from the pen of Marlowe. An attempt has been made to attribute them to Greene, on the ground that there are other folk-scenes in his works which display a similar strain of humour. But the difference is enormous. It is true that the text here follows the chronicle with extraordinary fidelity; but it was precisely in this ingenious adaptation of material that Shakespeare always showed his strength. And these scenes answer so completely to all the other folk-scenes in Shakespeare, and are so obviously the outcome of the habit of political thought which runs through his whole life, becoming ever more and more pronounced, that we cannot possibly accept them as showing only the trivial alterations and retouches which elsewhere distinguish his text from the older version.