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 abstinence of Fernando and Bianca is wholly improper. There is a coarseness of moral fibre in the whole work which is almost without parallel among our old poets. More than enough has been said of their verbal and spiritual license; but nowhere else, as far as I know, shall we find within the large limits of our early drama such a figure as Ford's Bianca set up for admiration as a pure and noble type of woman. For once, to my own wonder and regret, I find myself at one with the venomous moralist Gifford on a question of morals, when he observes of "that most innocent lady" that "she is, in fact, a gross and profligate adulteress, and her ridiculous reservations, while they mark her lubricity, only enhance her shame." The worst is, that we get no moment of relief throughout from the obtrusion of the very vilest elements that go to make up nature and deform it. No height or grandeur of evil is here to glorify, no aspiration or tenderness of afterthought is here to allay, the imbecile baseness, the paltry villainies and idiocies, of the "treacherous, lecherous, kindless" reptiles that crawl in and out before our loathing eyes. The language of course is in the main elaborate, pure, and forcible; the verse often admirable for its stately strength; but beyond this we can find nothing to plead in extenuation of uncleanness and absurdity. The only apparent aim of the quasi-comic interludes is to prove the possibility of producing something even more hateful than the tragic parts. The indecency of Ford's farcical underplots is an offence above all things to art. How it may seem from the preacher's point of view is no present concern of ours; perhaps he might find it by comparison harmless and