But it is or it should be inconceivable and incredible that the masterpiece of Rowley's strong and singular genius, a play remarkable for its peculiar power or fusion of strange powers even in the sovereign age of Shakespeare, should have waited upward of three hundred years and should still be waiting for the appearance of a second edition. The tragedy of 'All's Lost by Lust,' published in the same year with Shakespeare's great posthumous torso of romantic tragedy, was evidently a favourite child of its author's: the terse and elaborate argument subjoined to the careful and exhaustive list of characters may suffice to prove it. Among these characters we may note that one, 'a simple clownish Gentleman,' was 'personated by the poet': and having noted it, we cannot but long, with a fruitless longing, for such confidences as to the impersonation of the leading characters in other memorable plays of the period. There is some really good rough humour in the part of this honest clown and his fellows; but no duly appreciative reader will doubt that the author's heart was in the work devoted to the tragic and poetic scenes of a play which shows that the natural bent of his powers was toward tragedy rather than comedy. Alike as poet and as dramatist, he rises far higher and enjoys his work far more when the aim of his
