Another test, no less unmistakable by the student and no less indiscernible to the sciolist, is this:  that whatever may be the demerits of this play, they are due to no voluntary or involuntary carelessness or haste.  Here is not the swift impatient journeywork of a rough and ready hand; here is no sign of such compulsory hurry in the discharge of a task something less than welcome, if not of an imposition something less than tolerable, as we may rationally believe ourselves able to trace in great part of Marlowe’s work:  in the latter half of The Jew of Malta, in the burlesque interludes of Doctor Faustus, and wellnigh throughout the whole scheme and course of The Massacre at Paris.  Whatever in King Edward III. is mediocre or worse is evidently such as it is through no passionate or slovenly precipitation of handiwork, but through pure incompetence to do better.  The blame of the failure, the shame of the shortcoming, cannot be laid to the account of any momentary excess or default in emotion, of passing exhaustion or excitement, of intermittent impulse and reaction; it is an indication of lifelong and irremediable impotence.  And it is further to be noted that by far the least unsuccessful parts of the play are also by far the most unimportant.  The capacity of the author seems to shrink and swell alternately, to erect its plumes and deject them, to contract and to dilate the range and orbit of its flight in a steadily inverse degree to the proportionate interest of the subject or worth of the topic in hand.  There could be no surer proof that it is neither the early nor the hasty work of a great or even a remarkable poet.  It is the best that could be done at any time by a conscientious and studious workman of technically insufficient culture and of naturally limited means.

I would not, however, be supposed to undervalue the genuine and graceful ability of execution displayed by the author at his best.  He could write at times very much after the earliest fashion of the adolescent Shakespeare; in other words, after the fashion of the day or hour, to which in some degree the greatest writer of that hour or that day cannot choose but conform at starting, and the smallest writer must needs conform for ever.  By the rule which would attribute to Shakespeare every line written in his first manner which appeared during the first years of his poetic progress, it is hard to say what amount of bad verse or better, current during the rise and the reign of their several influences,—­for this kind of echo or of copywork, consciously or unconsciously repercussive and reflective, begins with the very first audible sound of a man’s voice in song, with the very first noticeable stroke of his hand in painting—­it is hard to say what amount of tolerable or intolerable work might not or may not be assignable by scholiasts of the future to Byron or to Shelley, to Mr. Tennyson or to Mr. Browning.  A time by this rule might