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 which is unwilling to let slip any chance of effect, to let pass any detail of presentation; but rather, we are tempted to suspect, through a sardonic sense of scorn for the pefunctory task on which his ambitious and impatient hand is for the time employed. Now and then, however—or perhaps it would be more accurate to say once or twice—a gayer note is struck with a lighter touch than usual: as, for instance, in the excellent parody of Lyly put into the mouth of an idiot in the first scene of the fifth act of the first part of 'Antonio and Mellida.' 'You know, the stone called lapis, the nearer it comes to the fire, the hotter it is; and the bird which the geometricians call avis, the farther it is from the earth, the nearer it is to the heaven; and love, the nigher it is to the flame, the more remote (there's a word, remote!)—the more remote it is from the frost.' Shakespeare and Scott have condescended to caricature the style or the manner of the inventor of euphuism: I cannot think their burlesque of his elaborate and sententious triviality so happy, so humorous, or so exact as this. But it is not on his capacity as a satirist or humourist, it is on his occasionally triumphant success as a serious or tragic poet, that the fame of Marston rests assuredly established. His intermittent power to rid himself for a while of his besetting faults, and to acquire or assume for a