The lack of moral interest and sympathetic attraction in the characters and the story, which has been noted as the principal defect in the otherwise effective composition of 'Women Beware Women,' is an objection which cannot be brought against the graceful tragicomedy of 'The Spanish Gipsy.' Whatever is best in the tragic or in the romantic part of this play bears the stamp of Middleton's genius alike in the sentiment and the style. 'The code of modern morals,' to borrow a convenient phrase from Shelley, may hardly incline us to accept as plausible or as possible the repentance and the redemption of so brutal a ruffian as Roderigo: but the vivid beauty of the dialogue is equal to the vivid interest of the situation which makes the first act one of the most striking in any play of the time. The double action has some leading points in common with two of Fletcher's, which have nothing in common with each other: Merione in 'The Queen of Corinth' is less interesting than Clara, but the vagabonds of 'Beggars' Bush' are more amusing than Rowley's or Middleton's. The play is somewhat deficient in firmness or solidity of construction: it is, if such a phrase be permissible, one of those half-baked or underdone dishes of various and confused ingredients, in which the cook's or the baker's hurry has impaired the excellent materials of
