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 thought and language, mere command of dramatic effect, mere depth and subtlety of power to read, interpret, and reproduce the secrets of the heart and spirit. Could any further evidence be required of the unfitness and unworthiness to hold or to utter any opinion on the matter in hand which had consistently been displayed by the poor creatures to whom he had just referred, it would be found, as he felt sure the Founder and all worthy members of their Society would be the first to admit, in the despicable diffidence, the pitiful modesty, the contemptible deficiency in common assurance, with which the suggestion of Shakespeare's partnership in this play had generally been put forward and backed up. The tragedy of Arden of Feversham was indeed connected with Shakespeare—and that, as he should proceed to show, only too intimately; but Shakespeare was not connected with it—that is, in the capacity of its author. In what capacity would be but too evident when he mentioned the names of the two leading ruffians concerned in the murder of the principal character—Black Will and Shakebag. The single original of these two characters he need scarcely pause to point out. It would be observed that a double precaution had been taken against any charge of libel or personal attack which might be brought against the author and supported by the all-powerful court influence of Shakespeare's two principal patrons, the Earls of Essex and Southampton. Two figures were substituted for one, and the unmistakable name of Will Shakebag was cut in half and divided between them. Care had moreover been taken to disguise the person by altering the