then a momentary return perceptible to the skipping metre and fantastic manner of the first period, which may have been unconsciously suggested by the nature of the task in hand—a task of itself implying or suggesting some new study of old models; but the main style of the play in all its weightier parts is as distinctly proper to the second period, as clear an evidence of inner and spiritual affinity (with actual tabulation of dates, were such a thing as feasible as it is impossible, I must repeat that the argument would here be—what it is now—in no wise concerned), as is the handling of character throughout; but most especially the subtle force, the impeccable and careful instinct, the masculine delicacy of touch, by which the somewhat ruffianly temperament of the original Ferando is at once refined and invigorated through its transmutation into the hearty and humorous manliness of Petruchio's.

It is observable that those few and faint traces which we have noticed in this play of a faded archaic style trying as it were to resume a mockery of revirescence are not wholly even if mainly^[1]