subsequent revival of Infelice from her trance is represented with such vivid and delicate power that the scene, short and simple as it is, is one of the most fascinating in any play of the period. In none of these higher and finer parts of the poem can I trace the touch of any other hand than the principal author's: but the shopkeeping scenes of the underplot have at least as much of Middleton's usual quality as of Dekker's; homely and rough-cast as they are, there is a certain finish or thoroughness about them which is more like the careful realism of the former than the slovenly naturalism of the latter. The coarse commonplaces of the sermon on prostitution by which Bellafront is so readily and surprisingly reclaimed into respectability give sufficient and superfluous proof that Dekker had nothing of the severe and fiery inspiration which makes a great satirist or a great preacher; but when we pass again into a sweeter air than that of the boudoir or the pulpit, it is the unmistakable note of Dekker's most fervent and tender mood of melody which enchants us in such verses as these, spoken by a lover musing on the portrait of a mistress whose coffin has been borne before him to the semblance of a grave.
Of all the roses grafted on her cheeks,
Of all the graces dancing in her eyes,
Of all the music set upon her tongue,
