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 tragedy not lacking in violence of action or emotion, and abounding even more in sublime or beautiful interludes than in crabbed and bombastic passages. His rarest jewels of thought and verse detachable from the context lie embedded in the tragedy of 'Cæsar and Pompey,' whence the finest of them were first extracted by the unerring and unequalled critical genius of Charles Lamb. In most of his tragedies the lofty and labouring spirit of Chapman may be said rather to shine fitfully through parts than steadily to pervade the whole; they show nobly altogether as they stand, but even better by help of excerpts and selections. But the excellence of his best comedies can only be appreciated by a student who reads them fairly and fearlessly through, and, having made some small deductions on the score of occasional pedantry and occasional crudity, finds in 'All Fools,' 'Monsieur d'Olive,' 'The Gentleman Usher,' and 'The Widow's Tears' a wealth and vigour of humorous invention, a tender and earnest grace of romantic poetry, which may atone alike for these passing blemishes and for the lack of such clear-cut perfection of character and such dramatic progression of interest as we find only in the yet higher poets of our heroic age.

The severest critic of his shortcomings or his errors, if not incompetent to appreciate his