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 of fiction, had come forward to placard by way of self-advertisement on his own stage, and before the very eyes of a Maiden Queen, the scandalous confidence in his own powers of fascination and seduction so cynically expressed in the too easily intelligible vaunt—A Woman will have her Will [Shakespeare]. In the penultimate line of the hundred and forty-third sonnet the very phrase might be said to occur:

Having thus established his case in the first instance to the satisfaction, as he trusted, not only of the present Society, but of any asylum for incurables in any part of the country, the learned member now passed on to the consideration of the allusions at once to Shakespeare and to a celebrated fellow-countryman, fellow-poet, and personal friend of his—Michael Drayton—contained in a play which had been doubtfully attributed to Shakespeare himself by such absurd idiots as looked rather to the poetical and dramatic quality of a poem or a play than to such tests as those to which alone any member of that Society would ever dream of appealing. What these were he need not specify; it was enough to say in recommendation of them that they had rather less to do with any question of dramatic or other poetry than with the differential calculus or the squaring of the circle. It followed that only the most perversely ignorant and aesthetically presumptuous of readers could imagine the possibility of Shakespeare's concern or partnership in a play which had no more Shakespearean quality about it than mere poetry, mere passion, mere pathos, mere beauty and vigour of