are certain dominant qualities which do on the whole distinguish not only the later from the earlier plays, but the second period from the first, the third period from the second; and it is with these qualities alone that the higher criticism, be it aesthetic or scientific, has properly anything to do.
A new method of solution has been applied to various difficulties which have been discovered or invented in the text by the care or the perversity of recent commentators, whose principle of explanation is easier to abuse than to use with any likelihood of profit. It is at least simple enough for the simplest of critics to apply or misapply: whenever they see or suspect an inequality or an incongruity which may be wholly imperceptible to eyes uninured to the use of their spectacles, they assume at once the presence of another workman, the intrusion of a stranger's hand. This supposition of a double authorship is naturally as impossible to refute as to establish by other than internal evidence and appeal to the private judgment or perception of the reader. But it is no better than the last resource of an empiric, the last refuge of a sciolist; a refuge which the soundest of scholars will be slowest to seek, a resource which the most competent of critics will be least ready to
