ethical best might be defined as something of a plebeian Sidney. There are touches of criminal heroism and redeeming humanity even in the parts of Sextus and Tullia: the fearless desperation of the doomed ravisher, the conjugal devotion of the hunted parricide, give to the last defiant agony of the abominable mother and son a momentary tone of almost chivalrous dignity. The blank verse is excellent, though still considerably alloyed with rhyme: a fusion or alternation of metrical effects in which the young Heywood was no less skilful and successful, inartistic as the skill and illegitimate as the success may seem to modern criticism, than the young Shakespeare.
The eleven plays already considered make up the two divisions of Heywood's work which with all their great and real merit have least in them of those peculiar qualities most distinctive and representative of his genius: those qualities of which when we think of him we think first, and which on summing up his character as a poet we most naturally associate with his name. As a historical or mythological playwright, working on material derived from classic legends or from English annals, he shows signs now and then, as occasion offers, of the sweet-tempered manliness, the noble kindliness, which won the heart of
