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 recalls and indeed repeats the introduction of the heroine in an earlier play: but here again the author's touch is firmer and his simplicity more masculine than before. This coincidence is at least as significant as that between the two samples of flogging-block doggrel collated for comparison by Mr. Fleay: it is indeed a suggestive though superfluous confirmation of Heywood's strangely questioned but surely unquestionable claim to the authorship of 'The Fair Maid of the Exchange.' A curious allusion to a more famous play of the author's is the characteristic remark of the young ruffian Chartley, 'Well, I see you choleric hasty men are the kindest when all is done. Here's such wetting of handkerchers! he weeps to think of his wife, she weeps to see her father cry! Peace, fool, we shall else have thee claim kindred of the woman killed with kindness.' And in the fourth and last scene of the fourth act the same scoundrel is permitted to talk Shakespeare—'I'll go, although the devil and mischance look big.'

Poetical justice may cry out against the dramatic lenity which could tolerate or prescribe for the sake of a comfortable close to this comedy the triumphant escape of a villanous old impostor and baby-farmer from the condign punishment due to her misdeeds; but the severest of criminal