song the perfect drama ever tends to return, its intellectual scope deepened, complicated, enlarged, but still with an unmistakable [204] singleness, or identity, in its impression on the mind. Just there, in that vivid single impression left on the mind when all is over, not in any mechanical limitation of time and place, is the secret of the "unities"--the true imaginative unity--of the drama. 1889. NOTES 188. *Elinor. Do you not read some tokens of my son (Coeur-de-Lion) In the large composition of this man? 190. *Perhaps the one person of genius in these English plays. The spirit of deep prophecy she hath, Exceeding the nine Sibyls of old Rome: What's past and what's to come she can descry. 191. *Proposing in this paper to trace the leading sentiment in Shakespeare's English Plays as a sort of popular dramatic chronicle, I have left untouched the question how much (or, in the case of Henry the Sixth and Henry the Eighth, how little) of them may be really his: how far inferior hands have contributed to a result, true on the whole to the greater, that is to say, the Shakespearian elements in them. 201. *Perhaps a double entendre:--of any ordinary grave, as comprising, in effect, the whole small earth now left to its occupant or, of such a tomb as Richard's in particular, with its actual model, or effigy, of the clay of him. Both senses are so characteristic that it would be a pity to lose either. 202. *The Sonnet: the Aubade: the Epithalamium. DANTE GABRIEL ROSSETTI