The plot of _The Guardian_ is more complicated than is usual with Massinger. It contains some charming banditti scenes, while Alphonso’s fictitious narrative in the last act is one of the strongest pieces of writing in our author. The guardian, Durazzo, the kind-hearted but cynical and quick-tempered old man of the world, is one of Massinger’s most successful creations. On the other hand, it will be allowed that there is too much concession in _The Guardian_ to a corrupt taste, due perhaps to poverty and the depression of failure. The character of Iolante is unattractive; her intrigue with a man who turns out to be her brother is odious; her repentance is cheap and unconvincing. The earlier part of the play in its movement and morals alike reminds us of Fletcher. _The Picture_ is full of power, and enriched with some good strokes of satire; the alternations of mood in the chief characters are represented with skill, while the magic portrait on which the plot hinges seems to take a natural place in the story. There is, however, a crudeness and hardness of texture about the play, though Mathias and Sophia are well drawn, especially the latter. Everything comes right at the last, and true love is vindicated after the display of some proper pride; but one feels that the three venture their honour too far. “He comes too near who comes to be denied.” The King’s faults are overdrawn; the Queen very nearly spoils the play; the young courtiers, though realistic, are unpleasant; the comic element is poor and farcical.(482) In dealing with a psychological theme, Massinger was trying to adjust to the hard-and-fast concrete outlines of the drama a story which would have been easier to manage and more attractive to read if it had been cast in the form of a novel. There would then have been possible gradations of light and shade, which would have made the treatment less bald. It would have supplied Richardson with a problem worthy of his heart-breaking and long-drawn analysis. _The Duke of Milan_ is a gloomy play, with a somewhat intricate plot, presenting to us that strange “Italianate”(483) world of treachery and poison with which Webster, Ford, and Tourneur make us familiar. We must remember, on the other hand, that Italy gives an atmosphere which domestic plays like _The Yorkshire Tragedy_ and _Arden of Feversham_ lack. As in _The Bondman_ and _The Unnatural Combat_, the plot is developed late, though hints are given before. Thus, the ill-treated sister is early referred to,(484) while the last words of the same act prepare us for Francisco’s villainy. The finest scene in the play is Act III., 1, which is bathed in the romantic atmosphere so congenial to our author. Sforza submits to his enemy, the Emperor Charles, without forfeiting our esteem, while the Emperor shows a noble magnanimity. There is a subdued comic element in the person of Graccho, the musician.