no more striking example of the {~GREEK SMALL LETTER TAU~}{~GREEK SMALL LETTER OMICRON WITH VARIA~}
{~GREEK SMALL LETTER PI~}{~GREEK SMALL LETTER RHO~}{~GREEK SMALL LETTER EPSILON WITH OXIA~}{~GREEK SMALL LETTER PI~}{~GREEK SMALL LETTER OMICRON~}{~GREEK SMALL LETTER NU~} {~GREEK SMALL LETTER KAPPA~}{~GREEK SMALL LETTER ALPHA~}{~GREEK SMALL LETTER IOTA WITH VARIA~} {~GREEK SMALL LETTER SIGMA~}{~GREEK SMALL LETTER EPSILON~}{~GREEK SMALL LETTER MU~}{~GREEK SMALL LETTER NU~}{~GREEK SMALL LETTER OMICRON WITH VARIA~}{~GREEK SMALL LETTER NU~} than this speech; and the rhymes in the last six lines
well express the preconcertedness of Bolingbroke's scheme so beautifully
contrasted with the vehemence and sincere irritation of Mowbray.

_Ib._ Bolingbroke's speech:--

"Which blood, like sacrificing Abel's, cries,
Even from the tongueless caverns of the earth,
To _me_, for justice and rough chastisement."

Note the {~GREEK SMALL LETTER DELTA~}{~GREEK SMALL LETTER EPSILON~}{~GREEK SMALL LETTER IOTA~}{~GREEK SMALL LETTER NU~}{~GREEK SMALL LETTER OMICRON WITH VARIA~}{~GREEK SMALL LETTER NU~} of this "to me," which is evidently felt by Richard:--

"How high a pitch his resolution soars!"

and the affected depreciation afterwards;--

"As he is but my father's brother's son."

_Ib._ Mowbray's speech:--

"In haste whereof, most heartily I pray
Your highness to assign our trial day."

The occasional interspersion of rhymes, and the more frequent winding up
of a speech therewith--what purpose was this designed to answer? In the
earnest drama, I mean. Deliberateness? An attempt, as in Mowbray, to
collect himself and be cool at the close?--I can see that in the following
speeches the rhyme answers the end of the Greek chorus, and distinguishes
the general truths from the passions of the dialogue; but this does not
exactly justify the practice, which is unfrequent in proportion to the
excellence of Shakespeare's plays. One thing, however, is to be
observed,--that the speakers are historical, known, and so far formal
characters, and their reality is already a fact. This should be borne in
mind. The whole of this scene of the quarrel between Mowbray and
Bolingbroke seems introduced for the purpose of showing by anticipation
the characters of Richard and Bolingbroke. In the latter there is
observable a decorous and courtly checking of his anger in subservience to
a predetermined plan, especially in his calm speech after receiving
sentence of ban