the poet had given twelve years before in the induction to the second of his acknowledged comedies. And a tragedy of humours is hardly less than a monster in nature—or rather in that art which 'itself is nature.' Otherwise the second act must be pronounced excellent: the humours of the rival harlots, the masculine ambition of Sempronia, the caprices and cajoleries of Fulvia, are drawn with Jonson's most self-conscious care and skill. But the part of Cicero is burden enough to stifle any play: and some even of the finest passages, such as the much-praised description of the dying Catiline, fine though they be, are not good in the stricter sense of the word; the rhetorical sublimity of their diction comes most perilously near the verge of bombast. Altogether, the play is another magnificent mistake: and each time we open or close it we find it more difficult to believe that the additions made by its author some ten years before to The Spanish Tragedy can possibly have been those printed in the later issues of that famous play.[1] Their subtle and
- ↑ No student will need to be reminded of what is apparently unknown to some writers who have thought fit to offer an opinion on this subject—that different additions were made at different dates, and by different hands, to certain popular plays of the time. The original Faustus of Marlowe was altered and re-altered, at least
