There is, it is true, one remarkable exception to the general weakness of Massinger's characters. The vigour with which Sir Giles Overreach is set forth has made him the one well-known figure in Massinger's gallery, and the 'New Way to Pay Old Debts' showed, in consequence, more vitality than any of his other plays. Much praise has been given, and not more than enough, to the originality and force of the conception. The conventional miser is elevated into a great man by a kind of inverse heroism, and made terrible instead of contemptible. But it is equally plain that here, too, Massinger fails to project himself fairly into his villain. His rants are singularly forcible, but they are clearly what other people would think about him, not what he would really think, still less what he would say, of himself. Take, for example, the very fine speech in which he replies to the question of the virtuous nobleman, whether he is not frightened by the imprecations of his victims:-- Yes, as rocks are When foaming billows split themselves against Their flinty sides; or as the moon is moved When wolves, with hunger pined, howl at her brightness. I am of a solid temper, and, like these, Steer on a constant course; with mine own sword, If called into the field, I can make that right Which fearful enemies murmur at as wrong. Now, for those other piddling complaints Breath'd out in bitterness, as when they call me Extortioner, tyrant, cormorant, or intruder On my poor neighbour's rights or grand incloser Of what was common to my private use, Nay, when my ears are pierced with widows' cries, And undone orphans wash with tears my threshold, I only think what 'tis to have my daughter Right honourable; and 'tis a powerful charm Makes me insensible to remorse or pity, Or the least sting of conscience.