anapæst being "but as servants to the first." As English does not lend itself to the formation of dactyls, English verse must be iambic or trochaic, and will be of eight kinds, simple and compound. These are (1) iambic, pure or licentiate; in discussion of the licentiate iambic Campion is really carrying on the story of the development of our ten-syllabled blank verse, the licences being those variations from the pure iambic which were contributing to power of expression; (2) the iambic dimeter or English march, as

"Raving war, begot

In the thirsty sands
Of the Libyan isles,
Wastes our empty fields."

(3) the trochaic verse, said to suit best for epigram; (4) our English elegiac, where of each pair of lines the first is a licentiate iambic, the second is framed of two united dimeters, thus

"Constant to none, but ever false to me,

Traitor still to love, through thy faint desires,

Not hope of pity now nor vain redress

Turns my grief to tears and renewed laments;"

(5, 6, 7, 8), the next four were Sapphics, Anacreontics, with two lyrical variations on the Sapphic,-this :

"Rose-cheeked Laura, come;

Sing thou smoothly with thy beauty's
Silent music, either other

and this:

Sweetly gracing."

"Just beguiler,

Kindest love, yet only chastest,

Royal in thy smooth denials,

Frowning or demurely smiling,

Still my pure delight."

Campion illustrated his argument with verse of his own

making, and closed his pamphlet with a chapter on the quantity of English syllables."

Daniel, in his reply, refers to Campion, with all due courtesy, as one "whose commendable rhymes, albeit now an enemy to rhyme, have given heretofore to Daniel's

"Defence of Rhime."

the world the best notice of his worth." Daniel looks back to the history of Literature in Europe, and in England, since the Latin times. He points to the wonderful architecture of this State of England, and asks "whether they were deformed times that could give it such a form. But shall we not tend to perfection? Yes, and that ever best by going on in the course we are in, where we have advantage, being so far onward, of him that is but now setting forth; for we shall never proceed, if we be ever beginning, nor arrive at any certain port, sailing with all winds that blow." But Daniel, who brings to the argument a larger sense of Literature than Campion, and whose wisdom is in all things of the form we should now call conservative, preferring quiet growth to sudden change, is wisely temperate in seeking truth. He sees in the poets of his time faults of self-love and affectation, and he objects to the coinage of new words, sign mainly of the new exuberance [of strength that would force upon the language new-coined words for fuller stronger utterance of the new wealth of thought:

disguising," he said, "or forging strange or unusual words, as if it were to make our verse seem another kind of speech out of the course of our usual practice, displacing our words, or inventing new, openly upon a singularity; when our own accustomed phrase, set in the due place, would express us more familiarly and to better

Among Mr. A. H. Bullen's numerous aids to the study of good literature, is an edition of "The works of Dr. Thomas Campion," privately printed at the Chiswick Press in 1889, the first collection of Thomas Campion's works.

delight than all this idle affectation of antiquity or novelty can ever do. And I cannot but wonder at the strange presumption of some men, that dare so audaciously to introduce any whatsoever foreign words, be they never so strange; and of themselves, as it were, without a Parliament, without any consent or allowance, stablish them as FreeDenizens in our Language. But this is but a character of that perpetual Revolution which we see to be in all things, that never remain the same, and we must herein be content to submit ourselves to the law of Time, which in a few years will make that for which we now contend, Nothing."

These are the last sentences of Daniel's "Defence of Rhime." But by this time we have found that, while the greater number of the words audaciously introduced into our language by the men who wrote under Elizabeth and James have faded into nothing, yet there remains a smaller number-but not very small; it may be as large as one in three-that took root, grew, and have stood the test of use throughout succeeding centuries in aid of the rich voice of England speaking worthily.

FOR the theatre still Shakespeare, about twice a year, is furnishing new plays. We will take in this place a play of uncertain-perhaps mixed-date. Shakespeare's "All's Well that Ends Well" was first printed in the folio of 1623. In the list of plays given by Francis Meres in 1598, in his Palladis Tamia, there is one of which no trace remains under the name then given to it, "Love's Labour's Won." It follows in the list "Love's Labour's Lost," and may survive under another title. "All's Well that Ends Well" is a story of Love's labour won, but Shakespeare may well have been unwilling, in some later reproduction of the play, to continue a name that had been given only for an ephemeral purpose, to connect a new venture with a recent success when he was first taking his place as an independent dramatist. His later revision of this early work would include, therefore, a change of title, and in several passages towards the close of "All's Well that Ends Well"-as at the end of the fourth scene of the fourth act

"All's Well That Ends Well."

"All's well that ends well-still the fine's the crown;
Whate'er the course, the end is the renown; "

in the middle of the first scene of the Fifth Act,

"All's well that ends well yet;"

in the last words before the Epilogue,

"All yet seems well; and if it end so meet,
The bitter past, more welcome is the sweet ;'

and in the Epilogue itself,

"All is well ended, if this suit be won

That you express content ;"

it is perfectly clear that the play as we have it was designed by its writer to be known by the title it now bears.

If, therefore, the successful enterprise of Helena was first shown upon the stage as "Love's Labour's Won," there must have been some later revision of the play through which we get it in its present form. Coleridge and Tieck both thought that there was evidence of this within the play; they saw in it a mixture of earlier with later work. Unless it be "The Taming of the Shrew," the only other play of Shakespeare's with a plot that might fairly have been called "Love's Labour's Won" is "The Tempest." But " The Tempest" in its plan and treatment is a masterpiece in Shakespeare's ripest manner, and we have no reason to ascribe to interpolation of a later touch the piece of internal evidence that shows it not to have been written earlier than 1603. With allowance for some later revision, "All's Well that Ends Well" may, perhaps, fairly be regarded as the play known to Meres as "Love's Labour's Won," and, if so, its first production would have been while "Love's Labour's Lost" was fresh in the playgoer's memory. If this be so, however, we have evidence of fact showing insertion of lines in accordance with the change of title, to corroborate the belief that there was, in this case, later revision.