innocent persons. Og was naturally more in his place and more in his element as the second 'fat jailor' of Lancashire witches than as the second English dramatic poet of Psyche: he has come closer than his precursors, closer indeed than could have been thought possible, to actual presentation of the most bestial and abominable details of demonolatry recorded by the chroniclers of witchcraft: and in such scenes as are rather transcribed than adapted from such narratives he has imitated his professed master and model, Ben Jonson, by appending to his text, with the most minute and meticulous care, all requisite or more than requisite references to his original authorities. The allied poets who had preceded him were content to handle the matter more easily and lightly, with a quaint apology for having nothing of more interest to offer than 'an argument so thin, persons so low,' that they could only hope their play might 'pass pardoned, though not praised.' Brome's original vein of broad humour and farcical fancy is recognisable enough in the presentation of the bewitched household where the children rule their parents and are ruled by their servants; a situation which may have suggested the still more amusing development of the same fantastic motive in his admirable comedy of 'The Antipodes.' There is a noticeable reference to 'Macbeth' in
