The days that she shall number to her rest are short; but she vainly imagines that, though but "one minute" remains, she may "reach constantly at something that is neare" the good. She is awakened to her husband's whiteness of soul; but she makes no profession of love, though love, this time not merely lust, be stirred in her heart. She would not "let her sins perish his noble youth." At last, in the moment of mad exaltation after the murder of the King, when she thinks that she has washed her soul clean in that blood, the poor, misguided creature struggling toward the light, but still, and consistently, enveloped in the murk of her past, comes imploring the love of the husband whom in the earlier days she had scorned. She is still the passionate Evadne, who "was too foule within to looke faire then," and "was not free till now." Repulsed by Amintor, she dreams the one sane madness of her career,--to win his love by taking leave of life,--and kills herself. I perceive no irrelevance of motive in the conduct of Evadne; even in the scenes which are not Beaumont's--namely, the expostulation of her brother, and the murder of the King. Nor do I find in the play as a whole what Mr. More calls an "incomprehensible tangle of the passions." The defect in the construction of the _Maides Tragedy_, if there is one, lies in the failure of the Maid and her deserter to meet between the first scene of the second act and the third of the fifth. That is not unmotived, however; it is of Aspatia's own choosing and of Amintor's _hamartia_. Aspatia kisses him farewell, forgiving him, and saying that she "must trie Some yet unpractis'd way to grieve and die." He is, forthwith, entangled in the web of his wife's adultery, his own shame and more shameful delusion of allegiance. The girl whom he has so deeply wronged passes from his distracted consciousness, save for the sense that these troubles are his punishment. And when, toward the end of the play, the Maid comes in again, saying "this is my fatall houre," even we start at the remembrance that she had threatened to kill herself. And, because the scene in which she forces a duel upon Amintor is spirited and pathetic, his contrition poignant, and the joy of their reunion in the moment of death deeply tragic, we feel that we have been unduly cheated of the company of this innocent and resolute and surpassingly pathetic girl.