inferior play—a play of which German sagacity has discovered that 'none of Rowley's other works are equal to this.' Assuredly they are not—in utter stolidity of platitude and absolute impotence of drivel. Rowley was a vigorous artist in comedy and an original master of tragedy: he may have written the lighter or broader parts of the play which rather unluckily took its name from these, and Webster may have written the more serious or sentimental parts: but there is not the slightest shadow of a reason to suppose it. An obviously apocryphal abortion of the same date, attributed to the same poets by the same knave, has long since been struck off the roll of Webster's works.
The few occasional poems of this great poet are worth study by those who are capable of feeling interest in the comparison of slighter with sublimer things, and the detection in minor works of the same style, here revealed by fitful hints in casual phrases, as that which animates and distinguishes even a work so insufficient and incompetent as Webster's 'tragecomœdy' of 'The Devil's Law-case.' The noble and impressive extracts from this most incoherent and chaotic of all plays which must be familiar to all students of Charles Lamb are but patches of imperial purple sewn on with the roughest of needles to a garment of the raggedest and coarsest kind of literary serge.
