The subsequent adventures of Hercules and the Argonauts are presented with the same quiet straightforwardness of treatment: it is curious that the tragic end of Jason and Medea should find no place in the multifarious chronicle which is nominally and mainly devoted to the record of the life and death of Hercules, but into which the serio-comic episode of Mars and Venus and Vulcan is thrust as crudely and abruptly as it is humorously and dramatically presented. The rivalry of Omphale and Deianeira for their hero's erratic affection affords a lively and happy mainspring--not suggested by Caxton--for the tragic action and passion of the closing scenes. At the opening of "The Iron Age," nineteen years later in date of publication, we find ourselves at last arrived in a province of dramatic poetry where something of consecutive and coherent action is apparently the aim if not always the achievement of the writer. These ten acts do really constitute something like a play, and a play of serious, various, progressive, and sustained interest, beginning with the elopement and closing with the suicide of Helen. There is little in it to suggest the influence of either Homer or Shakespeare: whose "Troilus and Cressida" had appeared in print, for the helplessly bewildered admiration of an eternally mystified world, just twenty-three years before. The only figure equally prominent in either play is that of Thersites: but Heywood, happily and wisely, has made no manner of attempt to rival or to reproduce the frightful figure of the intelligent Yahoo in which the sane and benignant genius of Shakespeare has for once anticipated and eclipsed the mad and malignant genius of Swift. It should be needless to add that his Ulysses has as little of Shakespeare's as of Homer's: and that the brutalization or degradation of the god-like figures of Ajax and Achilles is only less offensive in the lesser than in the greater poet's work. In the friendly duel between Hector and Ajax the very text of Shakespeare is followed with exceptional and almost servile fidelity: but the subsequent exchange of gifts is, of course, introduced in imitation of earlier and classic models. The contest of Ajax and Ulysses is neatly and spiritedly cast into dramatic form: Ovid, of course, remains unequalled, as he who runs may read in Dryden's grand translation, but Heywood has done better--to my mind at least--than Shirley was to do in the next generation; though it is to be noted that Shirley has retained more of the magnificent original than did his immediate precursor: but the death of Ajax is too pitiful a burlesque to pass muster even as a blasphemous travestie of the sacred text of Sophocles. In the fifth play of this pentalogy Heywood has to cope with no such matchless models or precursors; and it is perhaps the brightest and most interesting of the five. Sinon is a spirited and rather amusing understudy of Thersites: his seduction of Cressida is a grotesquely