speech of this scene we heard all the clangour and resonance of warring wind and sea, so now we hear a sound of sacred and spiritual music as solemn as the central monochord of the inner main itself.
That the three last acts of Pericles, with the possible if not over probable exception of the so-called Chorus,[1] are wholly the work of Shakespeare in the ripest fullness of his latter genius, is a position which needs exactly as much proof as does his single-handed authorship of Hamlet, Lear, Macbeth, and Othello. In the fifth act is a remarkable instance of a thing remarkably rare with him; the recast or repetition in an improved and reinvigorated form of a beautiful image or passage occurring in a previous play. The now only too famous metaphor of "patience on a monument smiling at grief"—too famous we might call it for its own fame—is transfigured as from human beauty to divine, in its transformation to the comparison of Marina's look with that of "Patience gazing on kings' graves, and smiling Extremity out of act."
