parallel in all the range of tragedy.

It is now a commonplace of criticism to observe and regret the decline
of power and interest after the opening acts of "The Jew of Malta." This
decline is undeniable, though even the latter part of the play is not
wanting in rough energy and a coarse kind of interest; but the first two
acts would be sufficient foundation for the durable fame of a dramatic
poet. In the blank verse of Milton alone, who perhaps was hardly less
indebted than Shakespeare was before him to Marlowe as the first English
master of word-music in its grander forms, has the glory or the melody
of passages in the opening soliloquy of Barabas been possibly surpassed.
The figure of the hero before it degenerates into caricature is as
finely touched as the poetic execution is excellent; and the rude and
rapid sketches of the minor characters show at least some vigor and
vivacity of touch.

In "Edward II." the interest rises and the execution improves as visibly
and as greatly with the course of the advancing story as they decline in
"The Jew of Malta." The scene of the king's deposition at Kenilworth is
almost as much finer in tragic effect and poetic quality as it is
shorter and less elaborate than the corresponding scene in Shakespeare's
"King Richard II." The terror of the death scene undoubtedly rises into
horror; but this horror is with skilful simplicity of treatment
preserved from passing into disgust. In pure poetry, in sublime and
splendid imagination, this tragedy is excelled by "Doctor Faustus"; in
dramatic power and positive impression of natural effect it is as
certainly the masterpiece of Marlowe. It was almost inevitable, in the
hands of any poet but Shakespeare, that none of the characters
represented should be capable of securing or even exciting any finer
sympathy or more serious interest than attends on the mere evolution of