The fifth scene is the Combat, the arrangement of which is unusual. Perhaps there is nothing in every respect resembling it in the circle of the English drama. Theseus and his court cross the stage as proceeding to the lists; Emilia pauses and refuses to be present; the rest depart, and she is left. She then, the prize of the struggle, the presiding influence of the day, alone occupies the stage: within, the trumpets are heard sounding the charge, and the cries of the spectators and tumult of the encounter reach her ears; one or two messengers recount to her the various changes of the field, till Arcite's victory ends the fight. The manner is admirable in which the caution, which rendered it advisable to avoid introducing the combat on the stage, is reconciled with the pomp of scenic effect and bustle. [Sidenote: Shakspere's hand is in it.] The details of the scene, with which alone we have here to do, make it clear that Shakspeare's hand was in it. The greater part, it is true, is not of the highest excellence; but the vacillations of Emilia's feelings are well and delicately given, some individual thoughts and words mark Shakspeare, there is a little of his obscure brevity, much of his thoughtfulness legitimately applied, and an instance or two of its abuse. The strong likeness to him will justify some quotations. In the following lines Theseus is pleading with Emilia for her presence in the lists:-- [Sidenote: Shakspere.] _Theseus._ You must be there: This trial is as 'twere in the night, and you The only star to shine. [Sidenote: Shakspere.] [50:1]_Emilia._ I am extinct. There is but envy in that light, which shews The one the other. Darkness, which ever was The dam of Horror, who does stand accursed Of many mortal millions, may even now, By casting her black mantle over both That neither could find other, get herself Some part of a good name, and many a mur|der Set off whereto she's guilty.[50:2] . . . . . One good description is put into the mouth of Emilia after she is left alone:-- [Sidenote: Act V. scene v. (Weber; or sc. iii. Littledale). Shakspere's hand in it.] [Sidenote: Shakspere.] _Emilia._ Arcite is gently visaged; yet his eye Is like an engine bent, or a sharp weap|on In a soft sheath: Mercy and manly Cour|age Are bedfellows in his visage. Palamon Has a most menacing aspect: his brow Is graved, and seems to bury what it frowns | on; Yet sometimes 'tis not so, but alters to The quality of his thoughts: long time his eye Will dwell upon his object: melanchol|y Becomes him nobly; so does Arcite's mirth: But Palamon's sadness is a kind of mirth, So mingled, as if mirth did make him sad, And sadness mer|ry:| those darker humours that Stick unbecomingly on oth|ers,| on him Live in fair dwelling.