Or, to turn to earlier but still undoubted works, Shakespeare wrote in Romeo and Juliet,

                  here will I remain
     With worms that are thy chamber-maids;

and in King John,

And pick strong matter of revolt and wrath
Out of the bloody finger-ends of John;

and in Lucrece,

And, bubbling from her breast, it doth divide
In two slow rivers, that the crimson blood
Circles her body in on every side,
Who, like a late-sack’d island, vastly stood
Bare and unpeopled in this fearful flood. 
Some of her blood still pure and red remain’d,
And some look’d black, and that false Tarquin stain’d.

Is it so very unlikely that the poet who wrote thus might, aiming at a peculiarly heightened and passionate style, write the speech of Aeneas?

4.  But, pursuing this line of argument, we must go further.  There is really scarcely one idea, and there is but little phraseology, in the speech that cannot be paralleled from Shakespeare’s own works.  He merely exaggerates a little here what he has done elsewhere.  I will conclude this Note by showing that this is so as regards almost all the passages most objected to, as well as some others. (1) ‘The Hyrcanian beast’ is Macbeth’s ‘Hyrcan tiger’ (III. iv. 101), who also occurs in 3 Hen.  VI. I. iv. 155. (2) With ‘total gules’ Steevens compared Timon IV. iii. 59 (an undoubtedly Shakespearean passage),

     With man’s blood paint the ground, gules, gules.

(3) With ‘baked and impasted’ cf. John III. iii. 42, ’If that surly spirit melancholy Had baked thy blood.’  In the questionable Tit.  And. V. ii. 201 we have, ‘in that paste let their vile heads be baked’ (a paste made of blood and bones, ib. 188), and in the undoubted Richard II. III. ii. 154 (quoted by Caldecott) Richard refers to the ground

     Which serves as paste and cover to our bones.

(4) ‘O’er-sized with coagulate gore’ finds an exact parallel in the ‘blood-siz’d field’ of the Two Noble Kinsmen, I. i. 99, a scene which, whether written by Shakespeare (as I fully believe) or by another poet, was certainly written in all seriousness. (5) ’With eyes like carbuncles’ has been much ridiculed, but Milton (P.L. ix. 500) gives ‘carbuncle eyes’ to Satan turned into a serpent (Steevens), and why are they more outrageous than ruby lips and cheeks (J.C. III. i. 260, Macb. III. iv. 115, Cym. II. ii. 17)? (6) Priam falling with the mere wind of Pyrrhus’s sword is paralleled, not only in Dido Queen of Carthage, but in Tr. and Cr. V. iii. 40 (Warburton). (7) With Pyrrhus standing like a painted tyrant cf. Macb. V. viii. 25 (Delius). (8) The forging of Mars’s armour occurs again in Tr. and Cr. IV. v. 255, where Hector swears by the forge that stithied Mars his helm, just as Hamlet himself alludes to Vulcan’s stithy (III. ii. 89). (9) The idea of ‘strumpet Fortune’ is common:  e.g. Macb. I. ii. 15, ’Fortune ... show’d like a rebel’s whore.’ (10) With the ‘rant’ about her wheel Warburton compares Ant. and Cl. IV. xv. 43, where Cleopatra would