of their errors and their loves, belong to Shakespeare alone; and may help us to understand how the young poet who at the outset of his divine career had struck into this fresh untrodden path of poetic comedy should have been, as we have seen that he was, loth to learn from another and an alien teacher the hard and necessary lesson that this flowery path would never lead him towards the loftier land of tragic poetry. For as yet, even in the nominally or intentionally tragic and historic work of the first period, we descry always and everywhere and still preponderant the lyric element, the fantastic element, or even the elegiac element. All these queens and heroines of history and tragedy have rather an Ovidian than a Sophoclean grace of bearing and of speech.

The example afforded by the Comedy of Errors would suffice to show that rhyme, however inadequate for tragic use, is by no means a bad instrument for romantic comedy. In another of Shakespeare's earliest works, which might almost be described as a lyrical farce, rhyme plays also a great part; but the finest passage, the real crown and flower of Love's Labour's Lost, is the praise or apology of love spoken by Biron in blank verse. This is worthy of Marlowe for dignity and sweet-