realism and romance as could only have been achieved in the age of Shakespeare. To modern readers it may seem unfortunate for Heywood that a poet who never (to the deep and universal regret of all competent readers) followed up the dramatic promise of his youth, as displayed in the nobly vivid and pathetic little tragedy of 'Sir Peter Harpdon's End,' should in our day have handled the story of Danaë and the story of Bellerophon so effectively as to make it impossible for the elder poet either to escape or to sustain comparison with the author of 'The Earthly Paradise'; but the most appreciative admirers of Morris will not be the slowest or the least ready to do justice to the admirable qualities displayed in Heywood's dramatic treatment of these legends. The naturally sweet and spontaneous delicacy of the later poet must not be looked for in the homely and audacious realism of Heywood; in whose work the style of the Knight's Tale and the style of the Miller's Tale run side by side and hand in hand.
From the Golden Age to the Iron Age the growth and ascent of Heywood's dramatic power may fairly be said to correspond in a reversed order with the degeneracy and decline of human heroism and happiness in the legendary gradation or degradation of the classical four ages. 'The
