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 Martin Tupper or Mark Twain. And yet even in the very homeliest doggrel of Heywood's or Shakespeare's time there is something comparatively not contemptible; the English, when not alloyed by fantastic or pedantic experiment, has a simple historic purity and dignity of its own; the dullness is not so dreary as the dullness of mediæval prosers, the commonplace is not so vulgar as the commonplace of more modern scribes.

'The Trial of Chivalry' is a less extravagant example of homely romantic drama than 'The Four Prentices of London.' We owe to Mr. Bullen the rediscovery of this play, and to Mr. Fleay the determination and verification of its authorship. In style and in spirit it is perfect Heywood: simple and noble in emotion and conception, primitive and straightforward in construction and expression; inartistic but not ineffectual; humble and facile, but not futile or prosaic. It is a rather more rational and natural piece of work than might have been expected from its author when equipped after the heroic fashion of Mallory or Froissart: its date is more or less indistinctly indicated by occasional rhymes and peculiar conventionalities of diction: and if Heywood in the panoply of a knight-errant may now and then suggest to his reader the figure of Sancho Panza in his master's armour, his pedestrian romance is