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 anywhere) who are capable of believing the unspeakably impudent assertion of those mendacious malefactors that they have left us a pure and perfect edition of Shakespeare. These passages are all thoroughly in keeping with the general tone of the lesser work: it would be tautology to add that they are no less utterly out of keeping with the general tone of the other. But in their own way nothing can be finer: they have a tragic liveliness in ghastliness, a grotesque animation of horror, which no other poet has ever conceived or conveyed to us. The difference between Michael Angelo and Goya, Tintoretto and Gustave Doré, does not quite efface the right of the minor artists to existence and remembrance.

The strange and strangely beautiful tragic poem, which could not have come down to us under a stupider or a less appropriate name than that apparently conferred on it by the licenser of 'The Second Maiden's Tragedy,' must by all evidence of internal and external probability be almost unquestionably assigned to the hand of Middleton. The masterly daring of the stage effect, which cannot or should not be mistaken for the merely theatrical audacity of a headlong impressionist at any price, is not more characteristic of the author than the tender and passionate fluency of the flawless verse. The rather