tender emotions, though it can scarcely be said that his morality has much substance in it. It is a sentiment, not a conviction, and covers without quenching many ugly and brutal emotions. In Fletcher's wild gallants, still adorned by a touch of the chivalrous; reckless, immoral, but scarcely cynical; not sceptical as to the existence of virtue, but only admitting morality by way of parenthesis to the habitual current of their thoughts, we recognise the kind of stuff from which to frame the Cavaliers who will follow Rupert and be crushed by Cromwell. A characteristic sentiment which occurs constantly in the drama of the period represents the soldier out of work. We are incessantly treated to lamentations upon the ingratitude of the comfortable citizens who care nothing for the men to whom they owed their security. The political history of the times explains the popularity of such complaints. Englishmen were fretting under their enforced abstinence from the exciting struggles on the Continent. There was no want of Dugald Dalgettys returning from the wars to afford models for the military braggart or the bluff honest soldier, both of whom go swaggering through so many of the plays of the time. Clarendon in his Life speaks of the temptations which beset him from mixing with the military society of the time. There was a large and increasing class, no longer finding occupation in fighting Spaniards and searching for Eldorado, and consequently, in the Yankee phrase, 'spoiling for a fight.' When the time comes, they will be ready enough to fight gallantly, and to show an utter incapacity for serious discipline. They will meet the citizens, whom they have mocked so merrily, and find that reckless courage and spasmodic chivalry do not exhaust the qualifications for military success. Massinger represents a different turn of sentiment which would be encouraged in some minds by the same social conditions. Instead of abandoning himself frankly to the stream of youthful sentiment, he feels that it has a dangerous aspect. The shadow of coming evils was already dark enough to suggest various forebodings. But he is also a moraliser by temperament. Mr. Ward says that his strength is owing in a great degree to his appreciation of the great moral forces; and the remark is only a confirmation of the judgment of most of his critics. It is, of course, not merely that he is fond of adding little moral tags of questionable applicability to the end of his plays. 'We are taught,' he says in the 'Fatal Dowry,' By this sad precedent, how just soever Our reasons are to remedy our wrongs, We are yet to leave them to their will and power That to that purpose have authority.