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 would apparently have been less flattered than surprised to hear that he would be remembered rather as the creator of Frankford, Mountferrers, and Geraldine, than as the chronicler of King Brute, Queen Elizabeth, and King James.

The singular series of plays which covers much the same ground as Caxton's immortal and delightful chronicle of the 'Histories' of Troy may of course have been partially inspired by that most enchanting 'recuyell': but Heywood, as will appear on collation or confrontation of the dramatist with the historian, must have found elsewhere the suggestion of some of his most effective episodes. The excellent simplicity and vivacity of style, the archaic abruptness of action and presentation, are equally noticeable throughout all the twenty-five acts which lead us from the opening of the Golden to the close of the Iron Age; but there is a no less perceptible advance or increase of dramatic and poetic invention in the ten acts devoted to the tale of Troy and its sequel. Not that there is anywhere any want of good simple spirited work, homely and lively and appropriate to the ambitious humility of the design; a design which aims at making popular and familiar to the citizens of Elizabethan London the whole cycle of heroic legend from the reign of Saturn to the death of Helen. Jupiter, the young