Rhyme is the native condition of lyric verse in English; a rhymeless lyric is a maimed thing. - Algernon Charles Swinburne

Fruits fail and love dies and time ranges;
Thou art fed with perpetual breath,
and alive after infinite changes,
And fresh from the kisses of death,
Of langours rekindled and rallied,
Of barren delights and unclean,
Things monstrous and fruitless, a pallid
And poisonous queen.

Æschylus is above all things the poet of righteousness. "But in any wise, I say unto thee, revere thou the altar of righteousness": this is the crowning admonition of his doctrine, as its crowning prospect is the reconciliation or atonement of the principle of retribution with the principle of redemption, of the powers of the mystery of darkness with the coeternal forces of the spirit of wisdom, of the lord of inspiration and of light. The doctrine of Shakespeare, where it is not vaguer, is darker in its implication of injustice, in its acceptance of accident, than the impression of the doctrine of Æschylus. Fate, irreversible and inscrutable, is the only force of which we feel the impact, of which we trace the sign, in the upshot of Othello or King Lear. The last step into the darkness remained to be taken by "the most tragic" of all English poets. With Shakespeare — and assuredly not with Æschylus — righteousness itself seems subject and subordinate to the masterdom of fate: but fate itself, in the tragic world of Webster, seems merely the servant or the synonym of chance. The two chief agents in his two great tragedies pass away — the phrase was, perhaps, unconsciously repeated — "in a mist": perplexed, indomitable, defiant of hope and fear bitter and sceptical and bloody in penitence or impenitence alike. And the mist which encompasses the departing spirits of these moody and mocking men of blood seems equally to involve the lives of their chastisers and their victims. Blind accident and blundering mishap — "such a mistake", says one of the criminals, "as I have often seen in a play" — are the steersmen of their fortunes and the doomsmen of their deeds. The effect of this method or the result of this view, whether adopted for dramatic objects or ingrained in the writer's temperament, is equally fit for pure tragedy and unfit for any form of drama not purely tragic in evolution and event.

And with light lips yet full of their swift smile,
And hands that wist not though they dug a grave,
Undid the hasps of gold, and drank, and gave,
And he drank after, a deep glad kingly draught:
And all their life changed in them, for they quaffed
Death; if it be death so to drink, and fare
As men who change and are what these twain were.
And shuddering with eyes full of fear and fire
And heart-stung with a serpentine desire
He turned and saw the terror in her eyes
That yearned upon him shining in such wise
As a star midway in the midnight fixed.
Their Galahault was the cup, and she that mixed;
Nor other hand there needed, nor sweet speech
To lure their lips together; each on each
Hung with strange eyes and hovered as a bird
Wounded, and each mouth trembled for a world;
Their heads neared, and their hands were drawn in one,
And they saw dark, though still the unsunken sun
Far through fine rain shot fire into the south;
And their four lips became one burning mouth.