Montsurry's portraiture, indeed, suffers from the same lack of consistency as his wife's. In his earlier relations with her he strikes a tenderer note than is heard elsewhere in the play, and his first outburst of fury, when his suspicions are aroused, springs, like Othello's, from the depth of his love and trust (IV, i, 169-70): "My whole heart is wounded, When any least thought in you is but touch'd." But there is nothing of Othello's noble agony of soul, nor of his sense that he is carrying out a solemn judicial act on the woman he still loves, in Montsurry's long-drawn torture of his wife. Indeed a comparison of the episodes brings into relief the restraint and purity of Shakespeare's art when handling the most terrible of tragic themes. Yet the Moor himself might have uttered Montsurry's cry (V, i, 183-85), "Here, here was she That was a whole world without spot to me, Though now a world of spot." And there is something of pathetic dignity in his final forgiveness of his wife, coupled with the declaration that his honour demands that she must fly his house for ever. Monsieur and the Guise are simpler types. The former is the ambitious villain of quality, chafing at the thought that there is but a thread betwixt him and a crown, and prepared to compass his ends by any means that fall short of the actual killing of the King. It is as a useful adherent of his faction that he elevates Bussy, and when he finds him favoured by Henry he ruthlessly strikes him down, all the more readily that he is his successful rival for Tamyra's love. He is the typical Renaissance politician, whose characteristics are expounded with characteristically vituperative energy by Bussy in III, ii, 439-94. Beside this arch-villain, the Guise, aspiring and factious though he be, falls into a secondary place. Probably Chapman did not care to elaborate a figure of whom Marlowe had given so powerful a sketch in the _Massacre at Paris_. The influence of the early play may also be seen in the handling of the King, who is portrayed with an indulgent pen, and who reappears in the _rôle_ of an enthusiastic admirer of the English Queen and Court. The other personages in the drama are colourless, though Chapman succeeds in creating the general atmosphere of a frivolous and dissolute society. But the plot and portraiture in _Bussy D'Ambois_ are both less distinctive than the "full and heightened" style, to which was largely due its popularity with readers and theatre-goers of its period, but which was afterwards to bring upon it such severe censure, when taste had changed. Dryden's onslaught in his _Dedication to the Spanish Friar_ (1681) marks the full turn of the tide. The passage is familiar, but it must be reproduced here: