A  high  conception  of  this  poet's  power  of  rhetorical
dramatisation  will  be  formed  by  the  reader,  who,  con-
tinuing the  perusal  of  the  original  text,  observes  how
the  situation  is  prolonged  by  the  entrance  of  Warwick
at  this  moment,  by  the  King's  ensuing  debate  with  his
subject,  and  Warwick's  unwilling  execution  of  the
odious  commission  to  persuade  his  daughter.  Dia-
logue follows  dialogue  in  an  uninterrupted  scene,
unfolding  a  succession  of  emotions  skilfully  conducted
to  a  doubtful  issue.  Then  comes  an  interpose,  in
which  the  King's  preoccupation  with  his  passion  is
strikingly  exhibited,  leading  up  to  the  final  conflict
between  him  and  the  Countess,  preluded  by  the  master-
touch  whereby  the  young  Prince  is  made  to  sway
Kingf  Edward's  inclination.
VII.
The  remaining  Chronicle  Plays,  of  which  I  pro-
pose to  make  a  brief  enumeration,  offer  no  critical
difficulties  regarding  authorship.  While  this  depart-
ment of  the  drama  still  laboured  in  the  thraldom  of
clumsy  stage-carpentry,  Marlowe's  touch  transfigured
it  by  the  production  of  'Edward  II.'  His  play  may
have  been  written  as  early  as  1590  ;  but  it  was  only
entered  on  the  Stationers'  Books  in  1593,  and  printed
in  1598.     More  will  be  said  in  the  proper  place  about

c  c


386  SHAKSPERE'S  PREDECESSORS.
