Page:George Chapman, a critical essay (IA georgechapmancri00swin).pdf/66

 note a sufficient share of more enviable celebrity. It is one of the most spirited and brilliant plays belonging to that class of which the two most famous examples are the Merry Wives of Windsor and Every Man in His Humour; and for life and movement, interest and gaiety, it may challenge a comparison even with these. All the actors in Eastward Ho, down to the very slightest, such as the drawer, the butcher's man, and the keeper of the prison, have some quality and character of their own which gives them a place in the comic action; and in no play of the time do we get such a true taste of the old city life so often turned to mere ridicule and caricature by playwrights of less good humour, or feel about us such a familiar air of ancient London as blows through every scene; the homely household of the rich tradesman, the shop with its stall in front, the usurer's lodging, the waterside tavern, the Thames wharfs, stand out as sharply as if etched by the pen of Dickens or the needle of Whistler. The London of Hogarth, as set before us in that immortal series of engravings for which he is said to have taken the hint from this