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 sort of jest for which Master Heywood, if impeached as even more deserving of the birch than any boy on his stage, might have pleaded the example of the captain of the school, and protested that his humble audacities, if no less indecorous, were funnier and less forced than Master Shakespeare's. As for the other member of Webster's famous triad, I fear that the most indulgent sentence passed on Master Dekker, if sent up for punishment on the charge of bad language and impudence, could hardly in justice be less than Orbilian or Draconic. But he was apparently if not assuredly almost as incapable as Shakespeare of presenting the most infamous of murderers as an erring but pardonable transgressor, not unfit to be received back with open arms by the wife he has attempted, after a series of the most hideous and dastardly outrages, to despatch by poison. The excuse for Heywood is simply that in his day as in Chaucer's the orthodox ideal of a married heroine was still none other than Patient Grizel: Shakespeare alone had got beyond it.

The earlier of these two plays, 'a pleasant' if somewhat sensational 'comedy entitled 'How to Choose a Good Wife from a Bad, is written for the most part in Heywood's most graceful and poetical vein of verse, with beautiful simplicity,