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 to ‘stately’ themes which beget ‘high astounding terms’? And is it strange that, like Marlowe in Tamburlaine, he adopted a style marred in places by that which we think bombast, but which the author meant to be more ‘handsome than fine’?

2. If this is so, we can easily understand how it comes about that the speech of Aeneas contains lines which are unquestionably grand and free from any suspicion of bombast, and others which, though not free from that suspicion, are nevertheless highly poetic. To the first class certainly belongs the passage beginning, ‘But as we often see.’ To the second belongs the description of Pyrrhus, covered with blood that was

and again the picture of Pyrrhus standing like a tyrant in a picture, with his uplifted arm arrested in act to strike by the crash of the falling towers of Ilium. It is surely impossible to say that these lines are merely absurd and not in the least grand; and with them I should join the passage about Fortune’s wheel, and the concluding lines.

But how can the insertion of these passages possibly be explained on the hypothesis that Shakespeare meant the speech to be ridiculous?

3. ‘Still,’ it may be answered, ‘Shakespeare must have been conscious of the bombast in some of these passages. How could he help seeing it? And, if he saw it, he cannot have meant seriously to praise the speech.’ But why must he have seen it? Did Marlowe know when he wrote bombastically? Or Marston? Or Heywood? Does not Shakespeare elsewhere write bombast? The truth is that the two defects of style in the speech are the very defects we do find in his writings. When he wished to make his style exceptionally high and passionate he always ran some risk of bombast. And he was even more prone to the fault which in this speech seems to me the more marked, a use of metaphors which sound to our ears ‘conceited’ or grotesque. To me at any rate the metaphors in ‘now is he total gules’ and ‘mincing with his sword her husband’s limbs’ are more disturbing than any of the bombast. But, as regards this second defect, there are many places in Shakespeare worse than the speech of