more literal and prosaic in its steady servility to actual record and registered fact: the bitterest enemy of poetic or dramatic fiction, from William Prynne to Thomas Carlyle, might well exempt from his else omnivorous appetite of censure so humble an example of such obsequious and unambitious fidelity. Of fiction or imagination there is indeed next to none. In Thomas Drue's play of 'The Duchess of Suffolk,' formerly and plausibly misattributed to Heywood, part of the same ground is gone over in much the same fashion and to much the same effect; but the subject, a single interlude of the Marian persecution, has more unity of interest than can be attained by any play running on the same line as Heywood's, from the opening to the close of the most hideous episode in our history. That the miserable life and reign of Mary Tudor should have been 'staged to the show' for the edification and confirmation of her half-sister's subjects in Protestant and patriotic fidelity of animosity toward Rome and Spain is less remarkable than that the same hopelessly improper topic for historical drama should in later days have been selected for dramatic treatment by English writers and on one occasion by a great English poet. As there are within the range of any country's history, authentic or traditional, periods and characters in themselves so naturally
