and noble success. It is the one high sample of historic drama produced between the age of Shakespeare and our own; the one intervening link—a link of solid and durable metal—which connects the first and the latest labours in that line of English poetry; the one triumphant attempt to sustain and transmit the tradition of that great tragic school founded by Marlowe, perfected by Shakespeare, revived by the author of "Philip van Artevelde." The central figure of Ford's work is not indeed equal in stature of spirit and strength of handling to the central figure of Sir Henry Taylor's; there is a broader power, a larger truth, in the character of Artevelde than in the character of Warbeck; but the high qualities of interest based on firm and noble grounds, of just sentiment and vital dignity, of weight, force, and exaltation of thought, shown rather in dramatic expansion and development of lofty character by lofty method than in scenes and passages detachable from the context as samples of reflection and expression—these are in great measure common to both poets. Ford, again, has the more tender and skilful hand at drawing a woman; his heroines make by far the warmer and sharper impression on us; this on the whole is generally his strongest point, as it is perhaps the other's weakest; while, though we may not think his female studies up to the mark of his male portraits, there is certainly no English dramatist since Shakespeare who can be matched as a student of men, comparable for strong apprehension and large heroic grasp of masculine character, with the painter of Comnenus, of Artevelde, and of Dunstan.

The three romantic comedies of Ford have the same