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Which husbandry in honour might uphold
Against the stormy gusts of Winter's day,
And barren rage of death's eternal cold.

Again, in Shakespeare's 98th Sonnet, we find the following description of the reviving influence of Spring :

From you have I been absent in the spring,
When proud-pied April, dress'd in all his trim,
Hath put a spirit of youth in every thing,

That heavy Saturn laugh'd and leap'd with him.

The mood here is lighter, more ebullient, than in Phaeton, as becomes the occasion, and harmonises with the playful treatment of the grim classical personage: but the italicised line has a certain correspondence in form with Phaeton's-" And spends her franchise on each living thing;" and the epithet "proud-pied" corresponds both in form and in position with "green-lock'd." Apart, however, from this, let the reader note from the two passages Shakespeare's association of a vaunting youthful spirit with Spring, and then turn to the play of "Richard II.," act i. scene 3. Young Bolingbroke and Mowbray have quarrelled mortally, and the lists have been set up at Coventry before the King and his nobles that they may fight their quarrel to the death. In the course of the preliminary formalities Bolingbroke expresses his confidence in the issue, and vaunts in his youthful sap, saying that he is

Not sick, although I have to do with death,

But lusty, young, and cheerly drawing breath.

He invokes the blessing of his father upon his arms

O thou, the earthly author of my blood,
Whose youthful spirit, in me regenerate,
Doth with a twofold vigour lift me up
To reach a victory above my head,

Add proof unto mine armour with thy prayers.

Gaunt, in answer to this, bids him "rouse up his youthful blood." Shakespeare has now to find for Mowbray a suitable balance to this vaunting. He wishes to make Mowbray express in turn how delighted he is at the prospect of the encounter. When Marlowe in "Edward II." had to make Gaveston express intense delight at his return from banishment, he used the following image :

The shepherd nipt with biting Winter's rage
Frolics not more to see the painted Spring
Than I do to behold your Majesty.

Now the form used by Shakespeare in the following lines to express Mowbray's exultation is so similar to this passage in Marlowe, with which Shakespeare must have been familiar, that it almost looks as if this had been in his mind when he wrote them; and if so, the association between Spring and enfranchisement had occurred to him directly, as it had to Phaeton :

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