Page:George Chapman, a critical essay (IA georgechapmancri00swin).pdf/67

comedy, does not seem nearer or more actual than this elder London of Jonson, Chapman, and Marston; and the more high-flying genius of Frank Quicksilver is as real and lifelike as the humbler debauchery and darker doom of Tom Idle. The parts of Mistress Touchstone and Gertrude are worthy of Molière in his homelier mood; and but for one or two momentary indecencies dropped here and there to attest the passage of Marston, the scenes in which they figure would be as perfect and blameless examples of pure broad comedy as any stage can show. The fluttering and exuberant ambition of the would-be Célimene or Millamant of the city is painted with such delightful force and freshness, her imperial volubility of contempt, the joyous and tremulous eagerness with which she obeys the precept of the Psalmist to 'forget her own people and her father's house,' her alternate phases of gracious patronage and overflowing obloquy, are so charming in the buoyancy and fertility of their changes that we are rejoiced when after the term of adversity so differently put to use by the prodigal daughter and the profligate apprentice Frank and