In the first and third scenes of the fourth act we may concede some slight merit to the picture of a chivalrous emulation in magnanimity between the Duke of Burgundy and his former fellow-student, whose refusal to break his parole as a prisoner extorts from his friend the concession refused to his importunity as an envoy:  but the execution is by no means worthy of the subject.

The limp loquacity of long-winded rhetoric, so natural to men and soldiers in an hour of emergency, which distinguishes the dialogue between the Black Prince and Audley on the verge of battle, is relieved by this one last touch of quasi-Shakespearean thought or style discoverable in the play of which I must presently take a short—­and a long—­farewell.

   Death’s name is much more mighty than his deeds: 
   Thy parcelling this power hath made it more. 
   As many sands as these my hands can hold
   Are but my handful of so many sands;
   Then all the world—­and call it but a power—­
   Easily ta’en up, and {269} quickly thrown away;
   But if I stand to count them sand by sand
   The number would confound my memory
   And make a thousand millions of a task
   Which briefly is no more indeed than one. 
   These quartered squadrons and these regiments
   Before, behind us, and on either hand,
   Are but a power:  When we name a man,
   His hand, his foot, his head, have several strengths;
   And being all but one self instant strength,
   Why, all this many, Audley, is but one,
   And we can call it all but one man’s strength. 
   He that hath far to go tells it by miles;
   If he should tell the steps, it kills his heart: 
   The drops are infinite that make a flood,
   And yet, thou know’st, we call it but a rain. 
   There is but one France, one king of France, {270}
   That France hath no more kings; and that same king
   Hath but the puissant legion of one king;
   And we have one:  Then apprehend no odds;
   For one to one is fair equality.

Bien coupe, mal cousu; such is the most favourable verdict I can pass on this voluminous effusion of a spirit smacking rather of the schools than of the field.  The first six lines or so might pass muster as the early handiwork of Shakespeare; the rest has as little of his manner as his matter, his metre as his style.

The poet can hardly be said to rise again after this calamitous collapse.  We find in the rest of this scene nothing better worth remark than such poor catches at a word as this;

   And let those milkwhite messengers of time
   Show thy time’s learning in this dangerous time;

a villainous trick of verbiage which went nigh now and then to affect the adolescent style of Shakespeare, and which happens to find itself as admirably as unconsciously burlesqued in two lines of this very scene: 

   I will not give a penny for a life,
   Nor half a halfpenny to shun grim death.