least interest in Albertus
afterwards? or in Cesario after his conduct?

"The Two Noble Kinsmen."

On comparing the prison scene of _Palamon and Arcite_, act ii. sc. 2, with
the dialogue between the same speakers, act i. sc. 2, I can scarcely
retain a doubt as to the first act's having been written by Shakespeare.
Assuredly it was not written by B. and F. I hold Jonson more probable than
either of these two.

The main presumption, however, for Shakespeare's share in this play rests
on a point, to which the sturdy critics of this edition (and indeed all
before them) were blind,--that is, the construction of the blank verse,
which proves beyond all doubt an intentional imitation, if not the proper
hand, of Shakespeare. Now, whatever improbability there is in the former
(which supposes Fletcher conscious of the inferiority, the too poematic
_minus_-dramatic nature of his versification, and of which, there is
neither proof nor likelihood) adds so much to the probability of the
latter. On the other hand, the harshness of many of these very passages, a
harshness unrelieved by any lyrical inter-breathings, and still more the
want of profundity in the thoughts, keep me from an absolute decision.

Act i. sc. 3. Emilia's speech:--

... "Since his depart, his _sports_,
Tho' craving seriousness and skill," &c.

I conjecture "imports,"--that is, duties or offices of importance. The flow
of the versification in this speech seems to demand the trochaic ending -
u; while the text blends jingle and _hisses_ to the annoyance of less
sensitive ears than Fletcher's--not to say, Shakespeare's.

"The Woman Hater."

Act i. sc. 2.--

This scene from the beginning is prose printed as blank verse, down to the
line--

"E'en all the valiant stomachs in the court"--

where the verse recommences. This transition from the prose to the verse
enhances, and indeed forms the comic effect. Lazarillo concludes his
soliloquy with a hymn to the goddess of plenty.

THE END.

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