Now, from _The Loyall Subject_[170]--the farewell of _Archas_ to his arms and colours. I wish I could quote it all as an example of noble noise, enumerative and penny-a-line rhetoric: Farewell, my Eagle! when thou flew'st, whole Armies Have stoopt below thee: at Passage I have seen thee Ruffle the Tartars, as they fled thy furie, And bang 'em up together, as a Tassel, Upon the streach, a flock of fearfull Pigeons. I yet remember when the Volga curl'd, The aged Volga, when he heav'd his head up, And rais'd his waters high, to see the ruins, The ruines our swords made, the bloudy ruins; Then flew this Bird of honour bravely, Gentlemen; But these must be forgotten: so must these too, And all that tend to Arms, by me for ever. And from Act II, Scene 1, pages 101-102, for triplets: Fight hard, lye hard, feed hard, when they come home, sir.... To be respected, reckon'd well, and honour'd.... Where be the shouts, the Bells rung out, the people?... And, for "alls," and triplets: And whose are all these glories? why their Princes, Their Countries and their Friends. Alas, of all these, And all the happy ends they bring, the blessings, They only share the labours! Finally, from _Rule a Wife_, a few instances of the iterations, three-fold or multiple, and redundant expositions. In the first scene[171] Juan describes Leon: Ask him a question, He blushes like a Girl, and answers little, To the point less; he wears a Sword, a good one, And good cloaths too; he is whole-skin'd, has no hurt yet, Good promising hopes; and Perez describes the rest of the regiment, That swear as valiantly as heart can wish, Their mouths charg'd with six oaths at once, and whole ones, That make the drunken Dutch creep into Mole-hills; ... and he proceeds to Donna Margarita: She is fair, and young, and wealthy, Infinite wealthy, _etc._ And then to Estefania who has tautologized of her chastity, he tautologizes of his harmlessness:[172] I am no blaster of a lady's beauty, Nor bold intruder on her special favours; I know how tender reputation is, And with what guards it ought to be preserv'd, lady. As a fair example of this method of filling a page, I recommend the first scene of the third act; and of eloquence by rhetorical 'division,' Perez's description of his room in the next scene: all in terms of three times three. If now the reader will turn, by way of confirmation, to _The Triumph of Time_ and _The Triumph of Death_ of which the metrical characteristics are admittedly Fletcher's, he will find that there, Fletcher, before Beaumont's retirement from the partnership, is already using in purely dramatic composition the rhetorical mannerisms which mark both the lyrically designed _Shepheardesse_ of his early years and the genuine dramas of the later. 3. Stock Words, Phrases, and Figures.