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to its law the most perfect liberty of living and sublime and spontaneous and accurate expression. I can only conjecture that this greatest of the Shakespeareans was misguided out of his natural line of writing as exemplified and perfected in the tragedy of Vittoria, and lured into this cross and crooked by-way of immetrical experiment, by the temptation of some theory or crotchet on the score of what is now called naturalism or realism; which, if there were any real or natural weight in the reasoning that seeks to support it, would of course do away, and of course ought to do away, with dramatic poetry altogether: for if it is certain that real persons do not actually converse in good metre, it is happily no less certain that they do not actually converse in bad metre. In the hands of so great a tragic poet as Webster a peculiar and impressive effect may now and then be produced by this anomalous and illegitimate way of writing; it certainly suits well with the thoughtful and fantastic truculence of Bosola's reflections on death and dissolution and decay—his 'talk fit for a charnel,' which halts and hovers between things hideous and things sublime. But it is a step on the downward way that leads to the negation or the confusion of all distinctions between poetry and prose; a result to which it would be grievous to think that the example of Shakespeare's greatest