mark the contrast: in Shakespeare the definite, particular, visualised
image, in Marlowe the beautiful generalisation, the abstract term, the
thing seen at a literary remove. Take the two openings, both of which
start out with the sunrise. Marlowe begins:--

Now had the Morn espied her lover's steeds:
Whereat she starts, puts on her purple weeds,
And, red for anger that he stay'd so long,
All headlong throws herself the clouds among.

Shakespeare wastes no words on Aurora and her feelings, but gets to his
hero and to business without ado:--

Even as the sun with purple-colour'd face--
(You have the sun visualised at once),
Even as the sun with purple-colour'd face
Had ta'en his last leave of the weeping morn,
Rose-cheek'd Adonis hied him to the chase;
Hunting he loved, but love he laugh'd to scorn.

When Shakespeare has to describe a horse, mark how definite he is:--

Round-hoof'd, short-jointed, fetlocks shag and long,
Broad breast, full eye, small head and nostril wide,
High crest, short ears, straight legs and passing strong;
Thin mane, thick tail, broad buttock, tender hide.

Or again, in a casual simile, how definite:--

Upon this promise did he raise his chin,