Pour'd into kennels by it, and who dares Which, like a March sun, agues breeds in them, D'Auv. Now none will speak to us, we thrust ourselves Into men's companies, and offer speech, As if not made for their diverted ears, Their backs turn'd to us, and their words to others, And we must like obsequious parasites, Follow their faces, wind about their persons For looks and answers, or be cast behind, No more view'd than the wallet of their faults. * Byr. Is't not an easy loss to lose their looks, Whose hearts so soon are melted? D'Auv. But methinks, Being courtiers, they should cast best looks on men When they thought worst of them. Byr. O no, my Lord: They ne'er dissemble but for some advantage. They sell their looks and shadows, which they rate Lord, what foul weather, their aspects do threaten! It is not without frequent attempts on the part of the King to induce Byron to confess his error, and receive a pardon, that he permits his ministers to proceed to extremities against the unfortunate marshal. Byron however still holds out, and persists in insolently maintaining his innocence, though Henry hints at his having in his possession undeniable proofs of his guilt. The king is represented as much agitated on the subject of the delinquency of his favourite, and its necessary consequences. In one of his solitary reflections on the subject, he gives utterance to these noble and elevated thoughts. "O thou that govern'st the keen sword of kings, Or hold it, being advanc'd. The weight of blood, Byron and D'Auvergne are, at length, committed to prison, and the former is afterwards brought to trial. The evidence of his confidential agent, La Fin, is brought against him, and in spite of his passionate defence of himself, and his own belief, he is condemned. From the moment of his committal to prison to that of his death, he behaves like a madman, with comparatively lucid intervals, if, at least, he may not be said to have done so from the opening of the play. In his confinement he is described : "As a bird Enter'd a closet, which unwares is made Frets, pines, and dies, for former liberty." And when brought to the scaffold, this simile is applied to him: Swimming in fire, keeps off the baying hounds, The scenes of his execution are perhaps the best part of the second half of the play. The fierce impatience of the prisoner, his persisting in believing the trial and sentence a trick to frighten him, his constant delay in hopes of " mercy yet," and when he finds he must die, his determining to have a "will" in his death, and die just at the moment he pleases, are all in admirable keeping, and shew his outrageous character in a more natural light, than that in which it had hitherto been exhibited. When the archbishop desires to administer to him religious consolation, he exclaims : "Let me alone in peace,. Leave my soul to me, whom it most concerns : How she doth rouse, and, like a falcon, stretch I know this body but a sink of folly, The groundwork and rais'd frame of woe and frailty; The bond and bundle of corruption; A quick corpse, only sensible of grief; A walking sepulchre or household thief; A glass of air broken with less than breath; Like to a clergyman; but like the captain These are but ropes of sand. Chan. Desire you then To speak with any man? Byr. I would speak with La Force and St. Blancart. Do they fly me ! Where is Prevost, comptroller of my house? Pra. Gone to his house i'th' country, three days since. O all the world forsakes me! Wretched world, Why should I keep my soul in this dark light, Har. My lord, it is the manner once again Byr. Yet more sentences ! How often will ye make me suffer death, Chan. It must be read, my lord; no remedy. As he is proceeding to execution, he says: Go after and beseech the Chancellor, [Exit. Byr. Go, go! can all go thus! And no man come with comfort! Farewell, world : Whose ends will make him greatest, and not best. That checks their currents; and when torrents come, Vit. My lord, 'tis late; wilt please you to go up? Pral. The executioner, my lord. Byr. Death, slave, down! or by the blood that moves me I'll pluck thy throat out. Go, I'll call you straight." The archbishop again exhorts the dying man, now blinded for execution, to turn his thoughts to heaven; but meets with a similar repulse. After which, the duke arranges matters with his executioner, appeals to the soldiery in vain, and then submits to his fate. "Arch. My lord, now you are blind to this world's sight, Look upwards to a world of endless light. Byr. Ay, ay, you talk of upward still to others, Hang. Here, my lord. Byr. Where's that? Hang. There, there, my lord. Byr. And where, slave, is that there? Thou see'st I see not, yet speak as I saw. Hang. Kneel, I beseech your grace, |