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lated by Fletcher; we can pronounce with positive conviction what passages were completed and what parts were left unfinished by Shakespeare. Even on Mr. Spedding's theory it can hardly be possible to do as much for King Henry VIII. The lines of demarcation, however visible or plausible, are fainter by far than these. It is certainly not much less strange to come upon such passages in the work of Shakespeare as the speeches of Buckingham and Cranmer than it would be to encounter in the work of Sophocles a sample of the later and laxer style of Euripides; to meet for instance in the Antigone with a passage which might pass muster as an extract from the Iphigenia in Aulis. In metrical effects the style of the lesser English poet is an exact counterpart of the style of the lesser Greek; there is the same comparative tenuity and fluidity of verse, the same excess of short unemphatic syllables, the same solution of the graver iambic into soft overflow of lighter and longer feet which relaxes and dilutes the solid harmony of tragic metre with notes of a more facile and feminine strain. But in King Henry VIII. it should be remarked that though we not unfrequently find the same preponderance as in Fletcher's work of verses with a double