defamer of Eleanor of Castile; while it would be a relief to feel assured that there was but one English poet of any genius who could be capable of either villainy.
In this play, then, more decisively than in Titus Andronicus, we find Shakespeare at work (so to speak) with both hands—with his left hand of rhyme, and his right hand of blank verse. The left is loth to forego the practice of its peculiar music; yet, as the action of the right grows freer and its touch grows stronger, it becomes more and more certain that the other must cease playing, under pain of producing mere discord and disturbance in the scheme of tragic harmony. We imagine that the writer must himself have felt the scene of the roses to be pitched in a truer key than the noble scene of parting between the old hero and his son on the verge of desperate battle and certain death. This is the last and loftiest farewell note of rhyming tragedy; still, in King Richard II. and in Romeo and Juliet, it struggles for awhile to keep its footing, but now more visibly in vain. The rhymed scenes in these plays are too plainly the survivals of a ruder and feebler stage of work; they cannot hold their own in the new order with even such discordant effect of incongruous
