save him?—What, dost thou hold him? let go his hand: if thou dost not forsake him, a father's everlasting blessing fall upon both your heads!' The fusion of humour with pathos into perfection of exquisite accuracy in expression which must be recognized at once and remembered forever by any competent reader of this scene is the highest quality of Dekker as a writer of prose, and is here displayed at its highest: the more poetic or romantic quality of his genius had already begun to fade out when this second part of his finest poem was written. Hazlitt has praised the originality, dexterity, and vivacity of the effect produced by the stratagem which Infelice employs for the humiliation of her husband, when by accusing herself of imaginary infidelity under the most incredibly degrading conditions she entraps him into gratuitous fury and turns the tables on him by the production of evidence against himself; and the scene is no doubt theatrically effective: but the grace and delicacy of the character are sacrificed to this comparatively unworthy consideration: the pure, high-minded, noble-hearted lady, whose loyal and passionate affection was so simply and so attractively displayed in the first part of her story, is so lamentably humiliated by the cunning and daring immodesty of such a device that we hardly feel it so revolting an incongruity
