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 particular occasion—thought fit to introduce into the ceremonial verse of the masques held on the first and second nights of these star-crossed festivities. The faults and the virtues, the vigour of phrase and the accuracy of rendering, the stiffness of expression and the slowness of movement, are unmistakably characteristic of the workman. But in the second night's masque it must be noted that the original verse is distinctly better than the translated stanzas: the dispute of Truth and Opinion is a singularly spirited and vigorous example of amœbæan allegory. In the next year's Entertainment of the king and queen at Theobalds, then ceded by its owner to the king, the happy simplicity of invention and arrangement is worthily seconded or supported by the grave and dignified music of the elegiac verse which welcomes the coming and speeds the parting master. Next year The Masque of Beauty and the masque at Lord Haddington's marriage, each containing some of Jonson's finest and most flowing verse, bore equal witness to the energy and to the elasticity of his genius for apt and varied invention, The amœbæan stanzas in the later of these two masques have more freedom of movement and spontaneity of