as it should have been to see this princess enjoying, in common with her father and her husband, the spectacle of imprisoned harlots on penitential parade in the Bridewell of Milan; a thoroughly Hogarthian scene in the grim and vivid realism of its tragicomic humour.
But if the poetic and realistic merits of these two plays make us understand why Webster should have coupled its author with the author of 'Twelfth Night' and 'The Merry Wives of Windsor,' the demerits of the two plays next published under his single name are so grave, so gross, so manifold, that the writer seems unworthy to be coupled as a dramatist with a journeyman poet so far superior to him in honest thoroughness and smoothness of workmanship as, even at his very hastiest and crudest, was Thomas Heywood. In style and versification the patriotic and anti-Catholic drama which bears the Protestant and apocalyptic title of 'The Whore of Babylon' is still, upon the whole, very tolerably spirited and fluent, with gleams of fugitive poetry and glimpses of animated action; but the construction is ponderous and puerile, the declamation vacuous and vehement. An Æschylus alone could have given us, in a tragedy on the subject of the Salamis of England, a fit companion to the 'Persæ'; which, as Shakespeare let the chance pass by him, remains alone forever in the
