admirable than the great style, the high poetic spirit of the scene. I have always ventured to wonder that Lamb, whose admiration has made it twice immortal, did not select as a companion or a counterpart to it that other great camp scene from Webster's 'Appius and Virginia' in which another outraged warrior and father stirs up his friends and fellow-soldiers to vindication of his honour and revenge for his wrong. It is surely even finer and more impressive than that selected in preference to it, which closes with the immolation of Virginia.
The scenes in which the tragic underplot of Rowley's tragedy is deftly and effectively wound up are full of living action and passion; that especially in which the revenge of a deserted wife is wreaked mistakingly on the villainous minion to whose instigation she owes the infidelity of the husband for whom she mistakes him. The gross physical horrors which deform the close of a noble poem are relieved if not beautified by the great style of its age—an age unparalleled in wealth and variety of genius, a style unmatchable for its union of inspired and imaginative dignity with actual and vivid reality of impassioned and lofty life.
No comparison is possible, nor if possible could it be profitable, between the somewhat rough-hewn
