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 seen, for grammar and for sense in the construction of his periods. The narrative of a sea-fight ensuing on this is pitiable beyond pity and contemptibly beneath contempt.

In the next scene we have a flying view of peasants in flight, with a description of five cities on fire not undeserving of its place in the play, immediately after the preceding sea-piece: but relieved by such wealth of pleasantry as marks the following jest, in which the most purblind eye will be the quickest to discover a touch of the genuine Shakespearean humour.

1st Frenchman. What, is it quarter-day, that you remove, And carry bag and baggage too? 2nd Frenchman. Quarter-day? ay, and quartering-day, I fear.

Euge!

The scene of debate before Cressy is equally flat and futile, vulgar and verbose; yet in this Sham Shakespearean scene of our present poeticule's I have noted one genuine Shakespearean word, "solely singular for its singleness."

So may thy temples with Bellona's hand Be still adorned with laurel victory!

In this notably inelegant expression of goodwill we find the same use of the word "laurel" as an adjective and epithet of victory which thus confronts us in the penultimate speech of the third scene in the first act of Antony and Cleopatra.

Upon your sword Sit laurel victory, and smooth success Be strewed before your feet!

There is something more (as less there could not be) of spirit and movement in the battle-scene where Edward