altar of poetic justice, I admire as a master-stroke of character the haughty audacity of caprice which produces or evolves his ruin out of his own hardihood and insolence of exulting and daring enjoyment. For there is something throughout of the lion as well as of the fox in this original and incomparable figure. I know not where to find a third instance of catastrophe comparable with that of either The Fox or The Alchemist in the whole range of the highest comedy; whether for completeness, for propriety, for interest, for ingenious felicity of event or for perfect combination and exposition of all the leading characters at once in supreme simplicity, unity, and fullness of culminating effect.
And only in the author's two great farces shall we find so vast a range and variety of characters. The foolish and famous couplet of doggrel rhyme which brackets The Silent Woman with The Fox and The Alchemist is liable to prejudice the reader against a work which if compared with those marvellous masterpieces must needs seem to lose its natural rights to notice, to forfeit its actual claim on our rational admiration. Its proper place is not with these, but beside its fellow example of exuberant, elaborate, and deliberately farcical
