The humour is not his, but better; his phraseology is markedly absent;(506) the prose scenes show another conception of art; the careless metre suggests Rowley. It is clear that whoever wrote the comic parts of _The Old Law_ was responsible for Chough, Trimtram, and the Roarers in _A Fair Quarrel_. The scene is laid in Epire, a region which seems to have been regarded by our ancestors as a place for strange things to happen, and a vague background like the city of Callipolis;(507) it seems to have the same character in the present day. A King of Epire figures among Diocletians court in _The Virgin Martyr_, and in _The Dumb Knight_(508) we find a Duke of Epire. The cla.s.sical allusions and Latin phrases suggest that the author of _The Old Law_ was a man of some culture.

My task is now ended. I shall consider myself happy if I persuade some of my readers to make the acquaintance of Ma.s.singers plays.(509) We have lately been celebrating the tercentenary of Shaksperes death. The best way of honouring a great author is to read his writings; but to appreciate aright the greatness of Shakspere we should be wise to combine with our study a just estimate of his contemporaries and satellites; and, of the many dramatists of that century, none seem to me more worthy of affectionate consideration than Philip Ma.s.singer. It is especially instructive to return to his writings from the perusal of the masterpieces of his contemporaries; though from time to time they display rich gifts of pathos, poetry, and humour, they are too often marred by waywardness, unnaturalness, want of proportion, and grossness; it is a relief to resume the study of an author whose work is sober, well balanced, dignified, and lucid. While he shares with them the modern atmosphere of romance and adventure, he is the most Greek of his generation; and this is the real secret of his abiding charm. The pa.s.sionate, the abnormal, the lurid, the farcical elements, in which his contemporaries revel, are not, indeed, entirely absent, but they are less conspicuous; the luxuriance of the thicket does not hinder the wayfarer from following the path; we pluck the roses without tearing our flesh on the thorns; and as we contemplate the marble splendour of his verse we almost forget that sculpture has its limitations.

APPENDIX I. THE SMALL ACTOR IN Ma.s.sINGERS PLAYS

There are several pa.s.sages in our author in which reference is made to the low stature of the actor of a female part.

_Duke of Milan_, II., 1, 108: Graccho, speaking of Mariana:

Of a little thing, It is so full of gall!

II., 1, 156:

MARCELIA. For you, puppet

MARIANA. What of me, pine-tree?

172:

MARIANA. O that I could reach you, The little one you scorn so.

177:

GRACCHO. Forty ducats Upon the little hen.

181:

MARCELIA. Where are you, You modic.u.m, you dwarf?

MARIANA. Here, giantess, here.

188:

MARIANA. Or right me on this monster (shes three foot Too high for a woman).

_Bondman_, I., 2, 3: Cleon, speaking to Corisca:

Beauty invites temptations, and short heels Are soon trippd up.

(This pa.s.sage may have another interpretation.)

_Renegado_, I., 2, 9: Manto, speaking of Paulina:

And though low of stature, Her well-proportiond limbs invite affection.

II., 5, 159: Asambeg, of Paulina:

Such a spirit, In such a small proportion, I neer read of.

V., 2, 62: Carazie, of Paulina:

I would he had sent me To the gallies or the gallows, when he gave me To this proud little devil.

V., 3, 174: Mustapha, of Paulina:

A terrible little tyranness!

_Parliament of Love_, V., 1, 86: Perigot, of Leonora:

A confident little pleader.

_Roman Actor_, IV., 1, 15: Domitilla, referring to Domitia:

Who no sooner absent.

But she calls Dwarf! (so in her scorn she styles me) Put on my pantofles, fetch pen and paper.

V., 2, 5: Domitilla speaks:

Could I make my approaches, though my stature Does promise little, I have a spirit as daring As hers that can reach higher.

_Picture_, I., 1, 96: Corisca speaks:

Your hand, or if you please To have me fight so high, Ill not be coy, But stand a-tiptoe fort.

III., 2, 27: Ricardo to Corisca:

Pretty one, I descend To take the height of your lip.

II., 2, 197: And Pallas, bound up in a little volume.

_Emperor of the East_, II., 1, 388: Theodosius to Athenais:

By thyself, The magazine of felicity, in thy lowness Our eastern queens, at their full height, bow to thee.

_Maid of Honour_, I., 2, 46: Sylli to Camiola:

Nor I, your little ladyship, till you have Performd the covenants.

II., 2, 117: Fulgentio to Camiola:

Of a little thing You are a pretty peat, indifferent fair too.

_Maid of Honour_, IV., 3, 83: