as here? where may we look for the same temperance of tone, the same control of excitement, the same steadiness of purpose? If indeed Fletcher could have written this scene, or the farewell of Wolsey to his greatness, or his parting scene with Cromwell, he was perhaps not a greater poet, but he certainly was a tragic writer capable of loftier self-control and severer self-command, than he has ever shown himself elsewhere.
And yet, if this were all, we might be content to believe that the dignity of the subject and the high example of his present associate had for once lifted the natural genius of Fletcher above itself. But the fine and subtle criticism of Mr. Spedding has in the main, I think, successfully and clearly indicated the lines of demarcation undeniably discernible in this play between the severer style of certain scenes or speeches and the laxer and more fluid style of others; between the graver, solider, more condensed parts of the apparently composite work, and those which are clearer, thinner, more diffused and diluted in expression. If under the latter head we had to class such passages only as the dying speech of Buckingham and the christening speech of Cranmer, it might after all be almost impossible to resist the internal evidence of
