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 appreciation of the general student, that equally admirable fervour of commanding fancy which informs the whole design and gives life to every detail. The interlude of the witches is so royally lavish in its wealth and variety of fertile and lively horror that on a first reading the student may probably do less than justice to the lofty and temperate eloquence of the noble verse and the noble prose which follow.

Of The Silent Woman it is not easy to say anything new and true. Its merits are salient and superb: the combination of parts and the accumulation of incidents are so skilfully arranged and so powerfully designed that the result is in its own way incomparable —or comparable only with other works of the master's hand while yet in the fullness of its cunning and the freshness of its strength. But a play of this kind must inevitably challenge a comparison, in the judgment of modern readers, between its author and Molière: and Jonson can hardly, on the whole, sustain that most perilous comparison. It is true that there is matter enough in Jonson's play to have furnished forth two or three of Molière's: and that on that ground—on the score of industrious intelligence and laborious