portrayal of David, Absalom and Joab, the familiar weakness in concentration, the old lack of a dominant figure. We cannot help feeling that the author lost a great opportunity in not recognizing more fully the tragic potentialities of such a character as the rebel prince. And yet the play holds, and will continue to hold, a worthy place in Elizabethan drama on account of its poetry. The special qualities of Peele's poetic gift have been discussed in our consideration of his work as a whole. All that need be added here in praise is that had he written nothing else but _David and Bethsabe_ and _The Arraignment of Paris_ he might have challenged the right of precedence as a poet with Marlowe. But between those two plays what an amount of inferior workmanship lies! Having already quoted an example of his verse in tender mood, we offer a favourable specimen of his more impassioned style: _David._ What seems them best, then, that will David do. But now, my lords and captains, hear his voice That never yet pierc'd piteous heaven in vain; Then let it not slip lightly through your ears;-- For my sake spare the young man, Absalon. Joab, thyself didst once use friendly words To reconcile my heart incens'd to him; If, then, thy love be to thy kinsman sound, And thou wilt prove a perfect Israelite, Friend him with deeds, and touch no hair of him,-- Not that fair hair with which the wanton winds Delight to play, and love to make it curl; Wherein the nightingales would build their nests, And make sweet bowers in every golden tress To sing their lover every night asleep;-- O, spoil not, Joab, Jove's[62] fair ornaments, Which he hath sent to solace David's soul! The best, ye see, my lords, are swift to sin; To sin our feet are wash'd with milk of roes And dried again with coals of lightning. O Lord, thou see'st the proudest sin's poor slave, And with his bridle pull'st him to the grave! For my sake, then, spare lovely Absalon. * * * * *