for the sense will best bring out the rhythm; here the lines are
constructed on a given tune, and the verse has even a trace of
pulpit eloquence. But the play contains, through all its length,
unmistakeable traits of Shakspeare's hand; and some passages, as
the account of the coronation, are like autographs. What is odd,
the compliment to Queen Elizabeth is in the bad rhythm."

* * * * *

QUEEN ELIZABETH AND SIR HENRY NEVILL.

Many years ago I copied the following note from a volume of Berkshire
pedigrees in the British Museum, my reference to which is unluckily
lost.

"Queen Elizabeth, in her first progress at Maidenhithe Bridge,
being mett by all the Nobility, Kn'ts, and Esquires of Berks,
they kneeling on both sides of her way, shee alighted at the
bridge foot, and walked on foote through the midst, and coming
just agaynst Sir Henry Nevill of Billingbear, made a stay, and
leyd her glove on his head, saying, 'I am glad to see thee,
_Brother Henry_.' Hee, not pleased with the expression, swore
she would make the court believe hee was a bastard, at which
shee laughed, and passed on."

The masquing scene in _Henry VIII._, as described by Holinshed, perhaps
furnishes a clue to the Queen's pleasantry, though Shakspeare has
omitted the particular incident relating to Sir Henry Nevill. The old
chronicler, after giving an account of Wolsey's banquet, and the
entrance of a noble troop of strangers in masks, amongst whom he