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the lesser work: it would be tautology to add that they are no less utterly out of keeping with the general tone of the other. But in their own way nothing can be finer: they have a tragic liveliness in ghastliness, a grotesque animation of horror, which no other poet has ever conceived or conveyed to us. The difference between Michael Angelo and Goya, Tintoretto and Gustave Dore, does not quite efface the right of the minor artists to existence and remembrance. The strange and strangely beautiful tragic poem, which could not have come down to us under a stupider or a less appropriate name than that apparently conferred on it by the licenser of "The Second Maiden's Tragedy," must by all evidence of internal and external probability be almost unquestionably assigned to the hand of Middleton. The masterly daring of the stage effect, which cannot or should not be mistaken for the merely theatrical audacity of a headlong impressionist at any price, is not more characteristic of the author than the tender and passionate fluency of the flawless verse. The rather eccentric intermittency of the supernatural action is a no less obviously plausible reason for assigning it to the creator of so realistic a witch and so singular a succubus. But such a dramatic poem as this would be a conspicuous jewel in the crown of any but a supremely great dramatist and poet. And the musical or metrical harmony of the verse, imperceptible as it may be or rather must always be to the long-eared dunces who can only think to hear through their clumsy fingers, is so like Fletcher's as to suggest that if any part of Shakespeare's "King Henry VIII." is attributable to a lesser hand than his it may far more plausibly be assigned to Middleton's than to Fletcher's. Had it or could it have been the work of Fletcher, the clamorous and multitudinous satellites who preferred him with such furious fatuity of acclamation to so inconsiderable a rival as Shakespeare would hardly have abstained from reclaiming it on behalf of the great poet whom it pleased their imbecility to set so far above one so immeasurably and so unutterably greater. The tragedy of "Women Beware Women," whether or not it be accepted as the masterpiece of Middleton, is at least an excellent example of the facility and fluency and equable promptitude of style which all students will duly appreciate and applaud in the riper and completer work of this admirable poet. It is full to overflowin
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