Continually scheming against the objects of their avarice and hatred, preparing poisons or suborning bravoes, they know that these same arts will be employed against them. The wine-cup hides arsenic; the headpiece is smeared with antimony; there is a dagger behind every arras, and each shadow is a murderer's. When death comes, they meet it trembling. What irony Webster has condensed in Brachiano's outcry: On pain of death, let no man name death to me; It is a word infinitely horrible. And how solemn are the following reflections on the death of princes: O thou soft natural death, that art joint-twin To sweetest slumber! no rough-bearded comet Stares on thy mild departure; the dull owl Beats not against thy casement, the hoarse wolf Scents not thy carrion: pity winds thy corse, Whilst horror waits on princes. After their death, this is their epitaph: These wretched eminent things Leave no more fame behind'em than should one Fall in a frost and leave his print in snow. Of Webster's despots, the finest in conception and the firmest in execution is Ferdinand of Aragon. Jealousy of his sister and avarice take possession of him and torment him like furies. The flash of repentance over her strangled body is also the first flash of insanity. He survives to present the spectacle of a crazed lunatic, and to be run through the body by his paid assassin. In the Cardinal of Aragon, Webster paints a profligate Churchman, no less voluptuous, blood-guilty, and the rest of it, than his brother the Duke of Calabria. It seems to have been the poet's purpose in each of his Italian tragedies to unmask Rome as the Papal city really was. In the lawless desperado, the intemperate tyrant, and the godless ecclesiastic, he portrayed the three curses from which Italian society was actually suffering.