Page:A study of Shakespeare (IA cu31924013158393).pdf/50

 the poet to revert for help to rhyme, to hark back in search of support towards the half-forsaken habits of his poetic nonage. Feeling his foothold insecure on the hard and high ascent of the steeps of rhymeless verse, he stops and slips back ever and anon towards the smooth and marshy meadow whence he has hardly begun to climb. Any student who should wish to examine the conditions of the struggle at its height may be content to analyse the first act of this the first historical play of Shakespeare. As the tragedy moves onward, and the style gathers strength while the action gathers speed,—as (to borrow the phrase so admirably applied by Coleridge to Dryden) the poet's chariot-wheels get hot by driving fast,—the temptation of rhyme grows weaker, and the hand grows firmer which before lacked strength to wave it off. The one thing wholly or greatly admirable in this play is the exposition of the somewhat pitiful but not unpitiable character of King Richard. Among the scenes devoted to this exposition I of course include the whole of the death-scene of Gaunt, as well the part which precedes as the part which follows the actual appearance of his nephew on the stage; and into these scenes the intrusion of rhyme is rare and brief. They are written almost