Or she dies, bound against the stake. His death
Were the easier. Follow him: save her: strike but once.
Almachildes.
I cannot. God requite thee this! I will.
[Exit.
Rosamund.
And I will see it. And, father, thou shalt see.
[Exit.
In both these instances one sees the quality which is most conspicuous in this play—a naked strength, which is the same kind of strength that has always been present in Swinburne's plays, but hitherto draped elaborately, and often more than half concealed in the draperies. The outline of every play has been hard, sharp, firmly drawn; the characters always forthright and unwavering; there has always been a real precision in the main drift of the speeches; but this is the first time in which the outlines have been left to show themselves in all their sharpness. Development or experiment, whichever it may be, this resolute simplicity brings a new quality into Swinburne's work, and a quality full of dramatic possibilities. All the luxuriousness of his verse has gone, and the lines ring like sword clashing against sword. These savage and simple people of the sixth century do not turn over their thoughts before concentrating them into words, and they do not speak except to tell their thoughts. Imagine what even Murray, in Chastelard, a somewhat curt speaker, would have said in place of Almachildes's one line, a whole conflict of love, hate, honour, and shame in eight words: