[997] Gosson, in a well-known passage, puts brave language first among dramatic attractions: "sweetness of words, fitness of epithets, with metaphors, allegories...."
[998] Lämmerhirt counts nearly 84 per cent of the verses in the Arraignment of Paris as rhymed; David and Bethsabe has less than 7 per cent, and The Battle of Alcazar barely 3 per cent.
[999] The diction of The Old Wives' Tale differs from Lyly's comic prose much as Nashe's style in his pamphlets differs from the periods of Lyly's Euphues.
[1000] Ed. W. C. Hazlitt, Roxburgh Library, 1869, p. 145.
[1001] See the song in Appius, "Hope so and hap so."—In Misogonus, the Vice appears as a domestic fool.
[1002] Compare the French and broken English in Three Lords and Three Ladies of London, the dialect of Boban the Scot in Greene's James IV., and the inevitable Welshman.
[1003] Das Schauspiel im Schauspiel, Wien and Leipzig, 1896.
[1004] "A new motiv," says Schwab. Fleay (work quoted, I. 266) thinks The Old Wives' Tale fairly parodies the induction in James IV.
[1005] See a similar bit of horse-play in Wily Beguiled.
[1006] The delicate irony of later triflings with romance—as in Wieland's Oberon—is, of course, quite out of the question.