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the name of the poet Ford comes back to us, it comes back splendid with the light of another man's genius. The fiery panegyric of Charles Lamb is as an aureole behind it. That high-pitched note of critical and spiritual enthusiasm exalts even to disturbance our own sense of admiration; possibly, too, even to some after injustice of reaction in the rebound of mind. Certainly, on the one hand, we see that the spirit of the critic has been kindled to excess by contact and apprehension of the poet's; as certainly, on the other hand, we see the necessary excellence of that which could so affect and so attach the spirit of another man, and of such another man as Lamb. And the pure excess of admiration for things indeed admirable, of delight in things indeed delightful, is itself also a delightful and admirable thing when expressed to such purpose by such men.

And this poet is doubtless a man worthy of note and admiring remembrance. He stands apart among his fellows, without master or follower; he has learnt little from Shakespeare or Marlowe, Jonson or Fletcher. The other dramatists of the great age fall naturally into classes; thus, to take two of the greatest, Webster and Decker