mere prosaic phantoms as below the dark aërial height at which Shakespeare has clothed the forms with clouds and winged with winds the feet of the weird sisters. Nevertheless, both in Bussy d'Ambois and in this 'second Maiden's Tragedy' (as the Master of the Revels has somewhat inaptly labelled it), the first introduction of ghostly agency is impressive: and the scene in this latter where the sleep of the dead is first disturbed and her tomb violated by the passion of the baffled tyrant is well worthy of the praise it has received for the choice simplicity and earnest sweetness of style which yet hardly distinguish it above many other scenes and passages in this beautiful and singular poem, the story of whose fate has proved as strange and as fantastic as the incidents of its plot.
The first of Chapman's historic tragedies was published at the age of forty-eight, and stands now sixth on the list of the plays in which he had the help of no partner. He never wrote better and he seldom wrote worse than in this only play of his writing which kept any firm and durable hold on the stage. The impression made on Dryden by its
