served her ends for any end of his own beyond the pay of a professional assassin is a touch worthy of the greatest dramatist that ever lived. The perfect simplicity of expression is as notable as the perfect innocence of her surprise; the candid astonishment of a nature absolutely incapable of seeing more than one thing or holding more than one thought at a time. That she, the first criminal, should be honestly shocked as well as physically horrified by revelation of the real motive which impelled her accomplice into crime, gives a lurid streak of tragic humour to the life-like interest of the scene; as the pure infusion of spontaneous poetry throughout redeems the whole work from the charge of vulgar subservience to a vulgar taste for the presentation or the contemplation of criminal horror. Instances of this happy and natural nobility of instinct abound in the casual expressions which give grace and animation always, but never any touch of rhetorical transgression or florid superfluity, to the brief and trenchant sword-play of the tragic dialogue:
That sigh would fain have utterance: take pity on't,
And lend it a free word; 'las, how it labours
For liberty! I hear the murmur yet
Beat at your bosom.
The wording of this passage is sufficient to attest the presence and approve the quality of a
