at least has been satisfied by the final evolution of the tangled web of slaughter. In this catastrophe especially there is a remarkable sense of strong material effect, with a notable capacity for vigorous theatrical manipulation of incident, which is as notably deficient in the earlier and loftier works of Chapman.
In the tragedy of Revenge for Honour I have already noticed the curious change of style which distinguishes it from all other works of Chapman: a change from rigidity to relaxation, from energy to fluency, from concentration to effusion of language. It has something of the manner and metre of Fletcher and his school, something of the softness and facility which lend a half effeminate grace to the best scenes of Shirley; while in the fifth act at least I observe something too much of the merely conventional imagery and the overflow of easy verbosity which are the besetting sins of that poet's style. Only in one image can I find anything of that quaint fondness for remote and eccentric illustration in which the verse of Chapman resembles the prose of Fuller: this is put into the mouth of
