In illustrating
this tale he borrows from the bordering reigns 'incidents which were
characteristic of the times,' though some are of opinion, that his
deviation from historical truth has rather impaired than aided the
poetical effect of the drama. With artistic skill, and often with
sustained energy, he develops the career of the 'All-Fair' prince, and
his relation to the monkish struggle of the tenth century; the hostile
intrigues and stormy violence of Dunstan; the loyal tenacity and Saxon
frank-heartedness of Earl Leolf and his allies; the celebrated
coronation-scene, and 'most admired disorder' of the banquet; the
discovery and denunciation of Edwin's secret nuptials; his
imprisonment in the Tower of London; the confusion and dispersion of
his adherents; the ecclesiastical finesse and conjuror-tricks of
Dunstan; the king's rescue and temporary success; the murder of
Elgiva, and Edwin's own death in the essay to avenge her. It is around
Dunstan, the representative of spiritual despotism, that the interest
centres. The character of this 'Saint,' like that of Hildebrand and a
Becket, has been made one of the problems of history.
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