garised by theology may yet be used in its just and natural sense—is shared no less by Webster than by Shakespeare. The grave and deep truth of natural impulse is never ignored by these poets when dealing either with innocent or with criminal passion: but it surely is now and then ignored by the artistic quietism of Sophocles—as surely as it is outraged and degraded by the vulgar theatricalities of Euripides. Thomas Campbell was amused and scandalised by the fact that Webster (as he is pleased to express it) modestly compares himself to the playwright last mentioned; being apparently of opinion that 'Hippolytus' and 'Medea' may be reckoned equal or superior, as works of tragic art or examples of ethical elevation, to 'The White Devil' and 'The Duchess of Malfy'; and being no less apparently ignorant, and incapable of understanding, that as there is no poet morally nobler than Webster so is there no poet ignobler in the moral sense than Euripides: while as a dramatic artist—an artist in character, action, and emotion—the degenerate tragedian of Athens, compared to the second tragic dramatist of England, is as a mutilated monkey to a well-made man. No better test of critical faculty could be required by the most exacting scrutiny of probation than is afforded by the critic's professed or professional estimate of those great poets whose
