called, of the two plays by which Heywood is best known as a tragic and a comic painter of contemporary life among his countrymen. It is certainly not owing to any exceptional power of painting or happiness in handling feminine character that the first place among his surviving works has been generally and rationally assigned to 'A Woman Killed with Kindness.' The fame of this famous realistic tragedy is due to the perfect fitness of the main subject for treatment in the manner of which Heywood was in his day and remains to the present day beyond all comparison the greatest and the most admirable master. It is not that the interest is either naturally greater, or greater by force and felicity of genius in the dramatist, than that of other and far inferior plays. It is not that the action is more artistically managed: it is not that curiosity or sympathy is aroused or sustained with any particular skill. Such a play as 'Fatal Curiosity' is as truthfully lifelike and more tragically exciting: it is in mere moral power and charm, with just a touch of truer and purer poetry pervading and colouring and flavouring and quickening the whole, that the work of a Heywood approves itself as beyond the reach or the ambition of a Lillo. One figure among many remains impressed on his reader's memory once for all: the play is full of
