The Jew of Malta, has divers passages in a far higher and richer style of versification than any part of Tamburlaine.  The author’s diction has grown more pliant and facile to his thought; consequently it is highly varied in pause and movement; showing that in his hand the noble instrument of dramatic blank-verse was fast growing into tune for a far mightier hand to discourse its harmonies upon.  I must add that considerable portions both of this play and the preceding are meant to be comical.  But the result only proves that Marlowe was incapable of comedy.  No sooner does he attempt the comic vein than his whole style collapses into mere balderdash.  In fact, though plentifully gifted with wit, there was not a particle of real humour in him; none of that subtle and perfusive essence out of which the true comic is spun; for these choice powers can hardly live but in the society of certain moral elements that seem to have been left out of his composition.

Edward the Second, probably the latest, certainly much the best, of Marlowe’s dramas, was printed in 1598.  Here, for the first time, we meet with a genuine specimen of the English Historical Drama.  The scene covers a period of twenty years; the incidents pass with great rapidity, and, though sometimes crushed into indistinctness, are for the most part well used both for historic truth and dramatic effect; and the dialogue, generally, is nervous, animated, and clear.  In the great article of character, too, this play has very considerable merit.  The King’s insane dotage of his favourites, the upstart vanity and insolence of Gaveston, the artful practice and doubtful virtue of Queen Isabella, the factious turbulence of the nobles, irascible, arrogant, regardless of others’ liberty, jealous of their own, sudden of quarrel, eager in revenge, are all depicted with a goodly mixture of energy and temperance.  Therewithal the versification moves, throughout, with a freedom and variety, such as may almost stand a comparison with Shakespeare in what may be called his earlier period; as when, for instance, King Richard the Second was written.  It is probable, however, that by this time, if not before, Marlowe had begun to feel the power of that music which was to charm him, and all others of the time, out of audience and regard.  For we have very good evidence, that before Marlowe’s death Shakespeare had far surpassed all of that age who had ever been competent to teach him in any point of dramatic workmanship.

Marlowe is of consequence, mainly, as one of the first and greatest improvers of dramatic poetry in so far as relates to diction and metrical style; which is my reason for emphasizing his work so much in that regard.  But, as this is a virtue much easier felt than described, I can best show what it is, by giving a taste of it; which however must be brief: 

    “Edw.  What, Lord Arundel, dost thou come alone?