canvas of Verrocchio or Perugino. Of the doubtful or spurious plays which have been with more or less show of reason ascribed to this first period of Shakespeare's art, I have here no more to say than that I purpose in the proper place to take account of the only two among them which bear the slightest trace of any possible touch of his hand. For these two there is not, as it happens, the least witness of tradition or outward likelihood which might warrant us in assigning them a place apart from the rest, and nearer the chance of reception into the rank that has been claimed for them; while those plays in whose favour there is some apparent evidence from without, such as the fact of early or even original attribution to the master's hand, are, with one possible exception, utterly beyond the pale of human consideration as at any stage whatever the conceivable work of Shakespeare. Considering that his two attempts at narrative or rather semi-narrative and semi-reflective poetry belong obviously to an early stage of his earliest period, we may rather here than elsewhere take notice that there are some curious points of coincidence for evil as for good between the fortunes of Shakespeare's plays and the fortunes of his poems. In either case we find that some part at least of his earlier and inferior work has fared better at the blind hands of chance and the brutish hands of printers than some part at least of his riper and more precious products. His two early poems would seem to have had the good hap of his personal supervision in their passage through the press. Upon them, at least since the time of Coleridge, who as usual has said on this subject the first and the last word that need be said, it seems to me that fully sufficient notice and fully adequate examination have been expended; and that nothing at once new and true can now be profitably said in praise or in dispraise of them. Of _A Lover's Complaint_, marked as it is throughout with every possible sign suggestive of a far later date and a far different inspiration, I have only space or need to remark that it contains two of the most exquisitely Shakespearean verses ever vouchsafed to us by Shakespeare, and two of the most execrably euphuistic or dysphuistic lines ever inflicted on us by man. Upon the Sonnets such a preposterous pyramid of presumptuous commentary has long since been reared by the Cimmerian speculation and Boeotian "brain-sweat" of sciolists and scholiasts, that no modest man will hope and no wise man will desire to add to the structure or subtract from it one single brick of proof or disproof, theorem or theory. As yet the one contemporary book which has ever been supposed to throw any direct or indirect light on the mystic matter remains as inaccessible and unhelpful to students as though it had never been published fifteen years earlier than the date of their publication and four years before the book in which Meres notices