her baby lips in bubbling rhyme; but when the note changes we recognise the speech of gods. For the first time in our literature the higher key of poetic or romantic comedy is finely touched to a fine issue. The divine instrument fashioned by Marlowe for tragic purposes alone has found at once its new sweet use in (Shakespeare)the hands of Shakespeare. The way is prepared for As You Like It and the Tempest; the language is discovered which will befit the lips of Rosalind and Miranda.
What was highest as poetry in the Comedy of Errors was mainly in rhyme; all indeed, we might say, between the prelude spoken by Ægeon and the appearance in the last scene of his wife: in Love's Labour's Lost what was highest was couched wholly in blank verse; in the Two Gentlemen of Verona rhyme has fallen seemingly into abeyance, and there are no passages of such elegiac beauty as in the former, of such exalted eloquence as in the latter of these plays; there is an even sweetness, a simple equality of grace in thought and language which keeps the whole poem in tune, written as it is in a subdued key of unambitious harmony. In perfect unity and keeping the composition of this beautiful sketch may perhaps be said to mark a stage of advance, a new point of work attained, a
