question; the subject, the style, the manner, the metre, the construction, the characters, all are perfectly Chapman's. The Ball, on the other hand, is as thoroughly in the lightest style of Shirley, and not a bad example of his airily conventional manner; it is lively and easy enough, but much below the mark of his best comedies, such as The Lady of Pleasure (where an allusion to this earlier play is brought into the dialogue), which but for a single ugly incongruity would be one of the few finest examples of pure high comedy in verse that our stage could show against that of Molière.
A foundling of yet more dubious parentage has been fathered upon Chapman by the tradition which has affixed to his name the putative paternity of "a comical moral censuring the follies of this age," anonymously published in his sixty-first year. It has been plausibly suggested that the title of this wonderful medley, Two Wise Men and all the rest Fools, was the first and last cause of its attribution to the hand of Chapman, and that the error arose from a confusion of this with the title of All Fools, the best of Chapman's comedies. In any
