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 character and event, have in the eyes of some critics obscured the milder side of his genius. They are not without excuse. No one who has studied Ford throughout with the care he demands and deserves can fail to feel the want of that sweet and spontaneous fluency which belongs to the men of Shakespeare's school—that birdlike note of passionate music which vibrates in their verse to every breath of joy or sorrow. There is something too much now and then of rule and line, something indeed of hard limitation and apparent rigidity of method. I say this merely by comparison; set against the dramatists of any later school, he will appear as natural and instinctive a singer as any bird of the Shakespearian choir. But of pure imagination, of absolute poetry as distinguished from intellectual force and dramatic ability, no writer of his age except Massinger has less. Yet they are both poets of a high class, dramatists of all but the highest. They both impress us with a belief in their painstaking method of work, in the care and conscience with which their scenes were wrought out. Neither Ford nor Massinger could have ventured to indulge in the slippery style and shambling license which we pardon in Decker for the sake of his lyric note and the childlike delicacy of his pathos, his tenderness of colour and his passionate fancy; nor could they have dared the risk of letting their plays drift loose and shift for themselves at large, making the best that might be made of such rough and unhewn plots as Cyril Tourneur's, Middleton's, or Chapman's—sustained and quickened by the unquenchable and burning fire, the bitter ardour and angry beauty of Tourneur's verse, the grace and force of Middleton's fluent and