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 tragedies, which happily are strong enough in structure to support a durable reputation. Two others among his plays are indeed excellent, and worthy a long life of honour; but among the mighty throng of poets then at work a leading place could hardly have been granted to the author only of "The Lover's Melancholy" and "Perkin Warbeck." To the author of "'Tis Pity She's a Whore" and "The Broken Heart" it cannot be refused.

It is somewhat unfortunate that the very title of Ford's masterpiece should sound so strangely in the ears of a generation "whose ears are the chastest part about them." For of these great twin tragedies the first-born is on the whole the greater. The subtleties and varieties of individual character do not usually lie well within the reach of Ford's handling; but in the part of Giovanni we find more of this power than elsewhere. Here the poet has put forth all his strength; the figure of his protagonist stands out complete and clear. There is more ease and life in it than in his other sculptures; though here as always Ford is rather a sculptor of character than a painter. But the completeness, the consistency of design is here all the worthier of remark, that we too often find this the most needful quality for a dramatist wanting in him as in other great writers of his time.

Giovanni is the student struck blind and mad by passion; in the uttermost depths of unimaginable crime he reflects, argues, reasons concerning the devils that possess him. In the only other tragedy of the time based on incestuous love, Massinger's "Unnatural Combat," the criminal is old and hardened, a soul steeped and tempered in sin, a man of blood and iron