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 has left no finer example of metrical fluency and melodious ease. The fashion of dialogue and composition is no doubt rather feminine than masculine: Marlowe and Jonson, Webster and Beaumont, Tourneur and Ford—to cite none but the greatest of authorities in this kind—wrote a firmer if not a freer hand, struck a graver if not a sweeter note of verse: this rapid effluence of easy expression is liable to lapse into conventional efflux of facile improvisation: but such command of it as Middleton's is impossible to any but a genuine and a memorable poet.

As for the supposed obligations of Shakespeare to Middleton or Middleton to Shakespeare, the imaginary relations of 'The Witch' to 'Macbeth' or 'Macbeth' to 'The Witch,' I can only say that the investigation of this subject seems to me as profitable as a research into the natural history of snakes in Iceland. That the editors to whom we owe the miserably defaced and villainously garbled text which is all that has reached us of 'Macbeth,' not content with the mutilation of the greater poet, had recourse to the interpolation of a few superfluous and incongruous lines or fragments from the lyric portions of the lesser poet's work—that the players who mangled Shakespeare were the pilferers who plundered Middleton—must be obvious to all but those (if any such yet exist