of Shakespeare's Hamlet may be responsible for the creation of Tourneur's Vindice, and the influence of Tourneur's Vindice for the creation of Shakespeare's Timon. It is a certainty indisputable except by the blatant audacity of immedicable ignorance that the only poet to whose manner and style the style and manner of Cyril Tourneur can reasonably be said to bear any considerable resemblance is William Shakespeare. The more curt and abrupt style of Webster is equally unlike the general style of either. And if, as his first editor observes, 'the parallel' between Tourneur and Marston, 'as far as it goes, is so obvious that it is not worth drawing,' it is no less certain that the divergence between the genius which created Andrugio and the genius which created Vindice is at least as wide as the points of resemblance or affinity between them are vivid and distinct. While Marston's imaginative and tragic power was at its highest, his style was crude and quaint, turgid and eccentric; when he had cured and purified it—perhaps, as Gifford suggests, in consequence of Ben Jonson's unmerciful but salutary ridicule—he approved himself a far abler writer of comedy or tragicomedy than before, but his right hand had forgotten its cunning as the hand of 'a tragic penman.' Now the improvement of Tourneur's style, an improvement amounting
