fully than Heywood, the danger of presenting his hero something
of a wittol without sufficient passion of religion or affection to justify
his tolerance. But the pathos is so great, the sense of "the pity of it" is
so simply and unaffectedly rendered, that it is impossible not to rank
Heywood very high. The most famous "beauties" are in the following
passage:--

_Anne._ "O with what face of brass, what brow of steel,
Can you unblushing speak this to the face
Of the espoused wife of so dear a friend?
It is my husband that maintains your state,
Will you dishonour him that in your power
Hath left his whole affairs? I am his wife,
Is it to _me_ you speak?

_Wendoll._ "O speak no more:
For more than this I know and have recorded
Within the red-leaved table of my heart.
Fair and of all beloved, I was not fearful
Bluntly to give my life unto your hand,
And at one hazard all my worldly means.
Go, tell your husband; he will turn me off
And I am then undone: I care not, I,
'Twas for your sake. Perchance in rage he'll kill me;
I care not, 'twas for you. Say I incur
The general name of villain through the world,
Of traitor to my friend. I care not, I.
Beggary, shame, death, scandal and reproach
For you I'll hazard all--why, what care I?
For you I'll live and in your love I'll die."

Anne capitulates with a suddenness which has been generally and rightly
pronounced a blot on the play; but her husband is informed by a servant and
resolves to discover the pair. The action is prolonged somewhat too much,
and the somewhat unmanly strain of weakness in Frankford is too
perceptible; but these scenes are full of fine passages, as this:--

_Fr._ "A general silence hath surprised the house,
And this is the last door. Astonishment,
Fear and amazement beat[55] upon my heart
Even as a madman beats upon a drum.
O keep my eyes, you heavens, before I enter,
From any sight that may transfix my soul:
Or if there be so black a spectacle,
O strike mine eyes stark blind! Or if not so,
Lend me such patience to digest my grief
Th