It seems hardly credible to those who are aware how much they owe to the excellent scholarship and editorial faculty of Mr. Dyce, that he should have allowed such a misprint as "heirs" for "honors" to stand in this last unlucky line. Again, in the next scene, when the popular leader Captain Brett attempts to reassure the country folk who are startled at the sight of his insurgent array, he is made to utter (in reply to the exclamation, "What's here? soldiers!") the perfectly fatuous phrase, "Fear not good speech." Of course--once more--we should read, "Fear not, good people"; a correction which rectifies the metre as well as the sense. The play attributed to Webster and Rowley by a publisher of the next generation has been carefully and delicately analyzed by a critic of our own time, who naturally finds it easy to distinguish the finer from the homelier part of the compound weft, and to assign what is rough and crude to the inferior, what is interesting and graceful to the superior poet. The authority of the rogue Kirkman may be likened to the outline or profile of Mr. Mantalini's early loves: it is either no authority at all, or at best it is a "demd" authority. The same swindler who assigned to Webster and Rowley the authorship of "A Cure for a Cuckold" assigned to Shakespeare and Rowley the authorship of an infinitely inferior play--a play of which German sagacity has discovered that "none of Rowley's other works are equal to this." Assuredly they are not--in utter stolidity of platitude and absolute impotence of drivel. Rowley was a vigorous artist in comedy and an original master of tragedy: he may have written the lighter or broader parts of the play which rather unluckily took its name from these, and Webster may have written the more serious or sentimental parts: but there is not the slightest shadow of a reason to suppose it. An obviously apocryphal abortion of the same date, attributed to the same poets by the same knave, has long since been struck off the roll of Webster's works.