contemporaries the extravagance itself would appear not very glaring. Elizabeth aroused both fascination and awe in her own period which justified high flights. After her goodness and wrath were become alike unavailing this is how a cynic like Harington spoke of her: 'When she smiled it was a pure sunshine that every one did choose to bask in if they could; but anon came a storm, and the thunder fell in wondrous manner on all alike.' Ralegh doubtless was sincere in repining for the radiance as in deprecating the scowls, though he overrated his ability to conjure that back, and these away. In the same July, apparently, on July 26, he played a little comedy of Orlando Furioso,--not the approach to a tragedy of eleven years after. His chamber in the Tower was the scene. The spectators were his Keeper and cousin, Sir George Carew, and Arthur Gorges. Gorges was still, like Carew, his friend in 1614, and was sung by him then as one Who never sought nor ever cared to climb By flattery, or seeking worthless men. He now wrote to Cecil that Ralegh, hearing the Queen was on the Thames, prayed Carew to let him row himself in disguise near enough to look upon her. On Carew's necessary refusal he went mad, and tore Carew's new periwig off. At last they drew out their daggers, whereupon Gorges interposed, and had his knuckles rapped. 'They continue,' he proceeds, 'in malice and snarling. But, good Sir, let nobody know thereof.' He adds in a more veracious postscript: 'If you let the Queen's Majesty know hereof, as you think good, be it.' [Sidenote: _The Brick Tower._]