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"--

and in those which, in