The combat is interrupted by the approach of the Duke and his court; and Palamon, refusing to give back or conceal himself, appears before Theseus, and declares his own name and situation, and the presumptuous secret of Arcite. [Sidenote: is in Fletcher's style.] The scene is good, but in the flowing style of Fletcher, not the more manly one of Shakspeare. [Sidenote: Death-penalty for the losing knight, a good addition to Chaucer.] The sentence of death, which the duke, in the first moments of his anger, pronounces on the two princes, is recalled on the petition of Hippolita and her sister, on condition that the rivals shall meantime depart, and return within a month, each accompanied by three knights, to determine in combat the possession of Emilia; and death by the block is denounced against the knights who shall be vanquished. Some of these circumstances are slight deviations from Chaucer; and the laying down of the severe penalty is well imagined, as an addition to the tragic interest, giving occasion to a very impressive scene in the last act. * * * * * [Sidenote: Act IV. all Fletcher's.] The Fourth Act may safely be pronounced wholly Fletcher's. [Sidenote: Wants all the leading features of Shakspere's style.] All of it, except one scene, is taken up by the episodical adventures of the jailor's daughter; and, while much of it is poetical, it wants the force and originality, and, indeed, all the prominent features of Shakspeare's manner, either of thought, illustration, or expression. There are conversations in which are described, pleasingly enough, the madness of the unfortunate girl, and the finding of her in a sylvan spot, by her former wooer; but when the maniac herself appears, the tone and subjects of the dialogue become more objectionable. [Sidenote: Act IV. scene ii.] In the second scene of this act, the only one which bears reference to the main business of the piece, Emilia first muses over the pictures of her two suitors, and then hears from a messenger, in presence of Theseus and his attendants, a description, (taken in [44:1]its elements from the Knightes Tale,) of the warriors who were preparing for the field along with the champion lovers. [Sidenote: Emilia's soliloquy on the pictures, not Shakspere's.] In the soliloquy of the lady, while the poetical spirit is well preserved, the alternations of feeling are given with an abruptness and a want of insight into the nicer shades of association, which resemble the extravagant stage effects of the 'King and No King,' infinitely more than the delicate yet piercing glance with which Shakspeare looks into the human breast in the 'Othello'; the language, too, is smoother and less powerful than Shakspeare's, and one or two classical allusions are a little too correct and studied for him. [Sidenote: Act IV. scene ii. Fletcher's.] One image occurs, not the clearest or most chastened, in which Fletcher closely repeats himself:--