APPENDIX.

AMONG the plays assigned to Shakspere there are four of which it is practically certain that Marlowe was a part author; they are, of course, Henry VI., I., II. and III., and Titus Andronicus. How far each of these dramas is the work of Shakspere, and how far the crude originals have survived in them, we cannot say: there is only the internal evidence to guide us, and that everybody naturally interprets his own way. But though on points of style differences of opinion may exist, peculiarities of diction, outof-the-way words, odd turns of expression, åraέ λeyóμeva in short-and of such there is no lack in these four playscannot be explained away; consequently they should I imagine, be allowed to constitute a tiny link in the chain of evidence. If, for instance, from Shakspere's authentic works not one undoubted use of the curious phrase 'to this gear' can be quoted, if the expression occurs repeatedly in Marlowe's plays, and if, as is the case, we find the word in Henry VI. and Titus Andronicus in passages where the general style and atmosphere is Marlowesque, the coincidence surely must cast its atom of weight in favour of any theory that would assign the passages in question to the author of Tamburlaine. Individually such points may be of infinitesimal importance; collectively they are not so contemptible. Every writer has his vocabulary, and having once used a word he is likely to employ it again. Now in

Titus Andronicus, as Mr Fleay points out, there are 204 non-Shaksperian words; in the same way in the three parts of Henry VI. I have marked a good number of unusual words and peculiar phrases, the more important of which it seemed worth while to bring together, noting too some of the more marked parallelisms in style between passages in these three plays and passages in Marlowe's undoubted works.

With regard to Parts II. and III., accepting to a certain extent (for want of something better) the theory advanced in the New Shakspere Society's Proceedings by Miss Lee, I have referred very frequently, under the abbreviations C, and TT, to the two plays, The Contention and The True Tragedy. By 'non-Shaksperian' I mean that the word is not found in any of the undoubted plays, my authority in each case being Schmidt's invaluable Lexicon. As bearing somewhat on the authorship of Parts II. and III. it may not be amiss to note the great number of classical references in the two plays; we repeatedly light on allusions and even quotations that strongly suggest the hand of the young (Nash would have added 'idiote') 'art-master' fresh from the University. Here are some chance references, many of the lines having no equivalent in the parallel passages in The Contention and True Tragedy.

Part II. Act i. 4, 20-not in C; same scene, line 65-not in C; iii. 2, 92, and 116—19; iv. 1, 99 and 116—not in C, and 135-137; v. 1, 26—not in C, and 100 (where the simile is taken from Propertius, Elegies ii. 1, 63); v. 2, 59-not in C, and 62.

Part III. Act i. 3, 47—not in TT; ii. 1, 51—53; ii. 2, 146—148— not in TT; ii. 3, 53; ii. 5, 120; ii. 6, 12; iii. 2, 188—190—not in TT; iv. 2, 19-21--not in TT; iv. 8, 24; v. 6, 21-22.

As for the random notes that follow, some of the coincidences have been previously pointed out; some, perhaps, not.

Henry VI. Part I.

Obviously Marlowesque; cf. II. Tamburlaine,
v. 3, 1-7. Cf. Coleridge, Lectures, p. 272.
cf. II. Tamburlaine, iv. 4, 42.

'stern' (=helm). Cf. II. Henry VI. iii. 2, 91
(where not in C): elsewhere only in Peri-
cles iv. 1. 64 (by Shakspere?); Marlowe, Dido,
iii. 1, 108; v. 1, 61.

'buckle with'; cf. iv. 4, 5; v. 3, 28, II. Henry VI.
i. 4, 50. Non-Shaksperian, cf. Dido i. 2, 19.
'gathered head'—of troops, cf. II. Henry VI.
iv. 5, 10; Titus Andronicus iv. 4, 64. Non-
Shaksperian; Edward II. ii. 2, 121; Mas-
sacre at Paris xi. 27.

'high-minded'. Non-Shaksperian, cf. Edward
II. i. 1, 149.

cf. I. Tamburlaine ii. 1, 9 and line 29.
'decipher' (= detect): cf. Titus Andronicus iv.
2, 8.

cf. Titus Andronicus ii. 1, 82-83. Richard
III. i. 2, 228. Sonnet 41.

'reflex': verb non-Shaksperian, cf. I. Tambur-
laine iii. 1, 52; iv. 4, 2; v. I, 70.
Obviously by Marlowe.

‘fruition'; non-Shaksperian, cf. I. Tamburlaine
ii. 7, 29.

cf. Edward II. v. 4, 65—66; Massacre at Paris xi. 45.

Henry VI. Part II.

cf. Version of Margaret's speech in C with Dido
iv. 4, 116.

cf. Massacre at Paris II. 47; cf. the speech here
and in C with Guise's great soliloquy.
'run a tilt'; non-Shaksperian, cf. I. Henry VI.

iii. 2, 51; Edward II. v. 5, 66; not in C.
cf. Edward II. i. 4, 407; not in C.

'baseborn'; non-Shaksperian, cf. iv. 8, 49; III. Henry VI. ii. 2, 143, occurs repeatedly in

Marlowe; in Greene, e.g. Orlando Furioso p. 108.

C has Greene's favourite 'for to'; altered in the revision.

'To this gear', not in C; found once in Shakspere, Richard III. i. 4, 148, where however folios read 'shall we fall to worke?' cf. Titus Andronicus iv. 3, 51, cf. Edward II. v. 5, 36; Dido i. 1, 121; I. Tamburlaine ii. 2, I; Greene has it, e.g. Looking glass for London p. 126 (Dyce's Edition).

'Liefest liege'; non-Shaksperian, cf. Dido v. 1, 256 ('liefest love'), Greene has 'liefest', e.g. James IV. v. 6, 14.

cf. the lines here and in C with Edward II. ii. 2, 162.

'farfet', not in C; non-Shaksperian, cf. Dido iii. 3, 64; First Book of Lucan 94.

cf. Guise's speech, Massacre at Paris ii. 33-107. 'Alehouse sign'-as term of reproach-only here, and Titus Andronicus iv. 2, 98, and II. Henry VI. v. 2, 67; not in C.

in C; cf. Edward II. iv. 6, 34.

'buckler' (=to defend), only here, and Taming
of Shrew iii. 2, 241, and III. Henry VI. iii.
3, 99, cf. Edward II. i. 4, 288; ii. 5, 18; in C.
Clearly by Marlowe; not in C.

cf. I. Tamburlaine i. 2, 198; v. 1, 187.
'pass not for '-in C-is it Shaksperian? Greene
uses 'pass' in this sense, e.g. Friar Bacon p.
156, where Dyce quotes an instance from
Chettle's Kind-Harts Dream; for Marlowe, cf.
I. Tamburlaine i. 1, 109; Edward II. i. 4,
142; V. I, 77. Peele too has it, e.g. Old
Wives' Tale p. 449.
'Sophister'; non-Shaksperian, cf. Edward II. i.
4, 255; not in C.

'eternized'; non-Shaksperian, occurs six times
in Marlowe, I. Tamburlaine i. 2, 72; II.
Tamburlaine v. I, 35; v. 2, 54. Faustus i.

15; Dido i. 1, 112; Ovid's Elegies x. 60. Greene has it, e.g. Orlando Furioso pp. 89, 108; Friar Bacon p. 155. Several instances in Mere's Palladis Tamia.

Henry VI. Part III.

cf. Act ii. 1, 1; cf. Edward II. ii. 4, 21.
cf. line in TT with Edward II. ii. 2, 198.
cf. Edward II. iii. 2, 132; in TT.

'conditionally'; non-Shaksperian: cf. Faustus v.
91; Dido iii. 1, 113; in TT.

cf. Edward II. ii. 2, 166.

cf. Edward II. v. 1, 41.

cf. I. Tamburlaine ii. 5, 60–63.

'what resteth'; not, I believe, Shaksperian: often in Marlowe, e.g. II. Tamburlaine ii. 1, 11; Edward II. iv. 5, 72; not in TT.

'overmatching'; non-Shaksperian, cf. I. Tamburlaine ii. 1, 39; not in TT.

'quenchless'; non-Shaksperian in Plays; Lu-
crece 1554; cf. II. Tamburlaine iii. 5, 27;
Dido ii. 1, 187; Edward II. v. 1, 44; in TT.
'preachment'; non-Shaksperian, cf. Edward II.
iii. 2, 22; iv. 6, 112.

the famous line plagiarised from Greene.
cf. I. Tamburlaine ii. 1, 9; in TT.

CAMBRIDGE: PRINTED BY C. J. CLAY, M. A. AND SONS, AT THE UNIVERSITY PRESS.