The same breaking of faith for advantage gives points to the second act, where the French and English Kings turn from their pledged intention to effect a base alliance. They arrange to marry the Dauphin to Elinor's niece, Blanch of Castile. In the third act, before the fury of the constant has died down upon this treachery, the French King adds another falseness. He breaks away from the newly-made alliance at the bidding of the Pope's legate. The newly-married Dauphin treacherously breaks with his wife's party. In the welter of war that follows, the constant, human and beautiful figures come to heartbreak and death. The common people of England begin to betray their genius for obedience by preparing to rise against the man in power. The fourth act begins with the famous scene in which Hubert fails to blind Prince Arthur. Even in the act of mercy he is treacherous. He breaks faith with King John, to whom he has vowed to kill the Prince. Later in the act, King John, thinking that the murder has been done, breaks faith with Hubert, by driving him from his presence. In the last act, the English nobles, who have been treacherous to John, betray their new master, the French King. King John is a broken man, unable to make head against misfortune. He betrays his great kingly idea, that the Pope shall not rule here, by begging the Legate to make peace. At this point death sets a term to treachery. A monk treacherously poisons John at a moment when his affairs look brighter. The play ends with the Bastard's well-known brag about England-- "Naught shall make us rue If England to itself do rest but true." This thought is one among many thoughts taken by Shakespeare from the play of _The Troublesome Raigne_, and taken by the author of that play direct from Holinshed's _Chronicles_. Comedy deals with character and accident; tragedy with passionate moods of the soul in conflict with fate. In this play, as in nearly all poetical plays, the characters that are most minutely articulated are those commoner, more earthy characters, perceived by the daily mind, not uplifted, by brooding, into the rare state of passionate intellectual vision. These characters are triumphant creations; but they come from the commoner qualities in Shakespeare's mind. He did them easily, with his daily nature. What he did on his knees, with contest and bloody sweat, are his great things. The great scheme of the play is the great achievement, not the buxom boor who flouts the Duke of Austria, and takes the national view of his mother's dishonour.