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 uncourtly play; but if it be a failure, it is not on account of its plebeian humility, but through the writer's want of any real sympathy with his characters, any hearty relish of his subject: because throughout the whole conduct of a complicated intrigue he shows himself ungenially observant and contemptuously studious of his models; because the qualities most needed for such work, transparent lucidity and straightforward simplicity of exposition, are not to be found in these last comedies: because, for instance, as much attention is needed to appreciate the ingenious process of 'humours reconciled' in The Magnetic Lady, or to follow the no less ingenious evolution of boorish rivalries and clownish intrigues in the play just noticed, as to follow the action and appreciate the design of The Fox or The Alchemist.

The masque of this year, Love's Welcome at Welbeck, is a thing of very slight pretentions, but not unsuccessful or undiverting after its homely fashion. In the next year's companion masque, Loves Welcome at Bolsover, the verse, though not wanting in grace or ease, is less remarkable than the rough personal satire on Inigo Jones; who, it may