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 somewhat ridiculous that two enemies taunting each other with insupportable insults should obligingly provide each other with metrical spacing and neat and convenient rhymes. But the whole of this view rests finally upon the fact that few persons, if any, to-day understand what is meant by a poetical play. It is a singular thing that those poetical plays which are now written in England by the most advanced students of the drama follow exclusively the lines of Maeterlinck, and use verse and rhyme for the adornment of a profoundly tragic theme. But rhyme has a supreme appropriateness for the treatment of the higher comedy. The land of heroic comedy is, as it were, a paradise of lovers, in which it is not difficult to imagine that men could talk poetry all day long. It is far more conceivable that men's speech should flower naturally into these harmonious forms, when they are filled with the essential spirit of youth, than when they are sitting gloomily in the presence of immemorial destiny. The great error consists in supposing that poetry is an unnatural form of language. We should