446 Boyle (_N. S. S._, 371-372), severe as he is on Massinger’s characters, both male and female, agrees with this verdict. He traces the unjust depreciation of Massinger in part to Charles Lamb’s “unfair judgment.” “The hard fate that accompanied the ’stage poet’ through life has clung to him up to the present time, and in spite of warm advocates, like Gifford and Cunningham, prevented him from occupying his legitimate position as a dramatist immediately after Shakspere.” 447 Preface, p. lvii. of Monck Mason’s edition. 448 For another explanation, see Appendix X. 449 Alinda, the heroine of Fletcher’s _Pilgrim_, is equally indiscriminate in her bounty (Act I., 1, 2). We may compare J. Taylor’s _Holy Living_, Sec. VIII., Alms: “Trust not your alms to intermedial uncertain and under-dispensers.” 450 Where did he get her name from? A lady of the name is a subordinate character in Hroswitha’s _Gallicanus_. The plays of Hroswitha have obvious affinities with _The Virgin Martyr_, but I cannot trace any other indications of borrowing. 451 Brander Matthews, as a fellow-countryman of Jay Gould and Rockefeller, is well qualified to estimate Sir Giles Overreach; he points out that he is an instance of what the French call, “l’homme fort.” The part has been taken by many of our great actors, notably Garrick, who revived it in 1745. _Cf._ W. Hazlitt’s _Dramatic Essays_ for the performances of Kean and Kemble in 1816 (pp. 78-80, 91-92, 97-100). The two great actors had a different conception of Sir Giles; and Hazlitt is very severe upon Kemble. Kean was at Drury Lane, Kemble at Covent Garden. _ 452 Cf._ II., 1, 81 and 88. 453 I., 1, 146. 454 III., 1, 72. 455 See the Dedication: “I ever held this the most perfect birth of my Minerva.” It was printed in 1629. It is interesting to compare it with _The Cardinal_, for which Shirley had a similar affection. _ 456 Cf._ Domitian’s speech in II., 1, 160-168; and that of Rusticus in III., 2, 59-68. 457 As, for instance, Paris’ speech in I., 1, 21-26, and Stephanos’ words in V., 1, 99-101. 458 I., 4, where the Imperial princesses push one another about in seeking for a front place in the street as Domitian passes, is an example of this fault. We have already referred to the difficulties which are involved in the infliction of torture on the stage, as in III., 2. Again, it is improbable that the actors should have been waiting, as in IV., 1, outside the private gardens, ready to perform the very play which suited Domitian’s purpose. We are also disconcerted to find the ghosts in Act V., 1, stealing the bust of Minerva. (_Cf._, however, Virgil _Æneid_, II., 294.) 459 Prologue 2, 7: