Drury and her Trusty Roger, are mere commonplace profiles of malefactors: but it is in the contrast between the portraits of their two criminal heroines that the vast gulf of difference between the capacities of the two poets yawns patent to the sense of all readers. Anne Sanders and Alice Arden stand as far beyond comparison apart as might a portrait by any average academician and a portrait by Watts or Millais. Once only, in the simple and noble scene cited by the over-generous partiality of Mr. Collier, does the widow and murderess of Sanders rise to the tragic height of the situation and the dramatic level of the part so unfalteringly sustained from first to last by the wife and the murderess of Arden.
There is the self-same relative difference between the two subordinate groups of innocent or guilty characters. That is an excellent and effective touch of realism, where Brown comes across his victim's little boy playing truant in the street with a small schoolfellow; but in Arden of Feversham the number of touches as telling and as striking as this one is practically numberless. They also show a far stronger and keener faculty of poetic if not of dramatic imagination. The casual encounter of little Sanders with the yet red-
