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 to the indefatigable and the lamentable industry of a caricaturist or a photographer.

There is nothing accidental in the work of Ben Jonson: no casual inspiration, no fortuitous impulse, ever guides or misguides his genius aright or astray. And this crowning and damning defect of a tedious and intolerable realism was even exceptionally wilful and premeditated. There is little if anything of it in the earliest comedy admitted into the magnificent edition which was compiled and published by himself in the year of the death of Shakespeare. And the rumours of a still earlier comedy attributed to his hand, and printed apparently without his sanction just seven years before, are not worked out with such wearisome patience nor exhibited with such scientific persistency as afterwards distinguished the anatomical lecturer on vice and folly whose ideal of comic art was a combination of sarcasm and sermon in alternately epigrammatic and declamatory dialogue. I am by no means disposed to question the authenticity of this play, an excellent example of romantic comedy dashed with farce and flavoured with poetry: but, as far as I am aware, no notice has yet been taken of a noticeable coincidence between the manner or the