Page:George Chapman, a critical essay (IA georgechapmancri00swin).pdf/90

 that he should have touched on the incidental point of action which this anonymous play has in common with The Revenger's Tragedy and The Duke of Milan, and should also have remarked on the poetical or fanciful quality which does undoubtedly distinguish its language from the comparatively unimaginative diction of Massinger, without taking further account of the general and radical dissimilarity of workmanship which leaves the style of this poem equidistant from the three several styles of the sober Philip, the thoughtful George, and the fiery Cyril. It is singular that the name of a fourth poet, the quality of whose peculiar style is throughout perceptible, should have been missed by so acute and well-read a student of our dramatic poetry. The style is certainly and equally unlike that of Chapman, Massinger, or Tourneur; but it is very like the style of Middleton. The combination of the plots is as pitifully incongruous and formless, the movement of the metre as naturally sweet and fluent, the pathos of the situations as occasionally vivid and impressive, the play of the fancy as generally delicate and