saluted by all students in the supreme and sovereign trilogy of King Henry IV. and King Henry V. On a lower degree only than this final and imperial work we find the two chronicle histories which remain to be classed. In style as in structure they bear witness of a power less perfect, a less impeccable hand. They have less of perceptible instinct, less of vivid and vigorous utterance; the breath of their inspiration is less continuous and less direct, the fashion of their eloquence is more deliberate and more prepense; there is more of study and structure apparent in their speech, and less in their general scheme of action. Of all Shakespeare's plays they are the most rhetorical; there is more talk than song in them, less poetry than oratory; more finish than form, less movement than incident. Scene is laid upon scene, and event succeeds event, as stone might be laid on stone and story might succeed story in a building reared by mere might of human handiwork; not as in a city or temple whose walls had risen of themselves to the lyric breath and stroke of a greater than Amphion; moulded out of music by no rule or line of mortal measure, with no sound of axe or anvil, but only of smitten strings: built by harp and not by hand.
The lordly structure of these poems is the work
