The plays of Middleton are not so properly divisible into tragic and comic as into realistic and romantic--into plays of which the mainspring is essentially prosaic or photographic, and plays of which the mainspring is principally fanciful or poetical. Two only of the former class remain to be mentioned: "Anything for a Quiet Life" and "A Chaste Maid in Cheapside." There is very good stuff in the plot or groundwork of the former, but the workmanship is hardly worthy of the material, Mr. Bullen ingeniously and plausibly suggests the partnership of Shirley in this play: but the conception of the character in which he discerns a likeness to the touch of the lesser dramatist is happier and more original than such a comparison would indicate. The young stepmother whose affectation of selfish levity and grasping craft is really designed to cure her husband of his infatuation, and to reconcile him with the son who regards her as his worst enemy, is a figure equally novel, effective, and attractive. The honest shopkeeper and his shrewish wife may remind us again of Dickens by their points of likeness to Mr. and Mrs. Snagsby; though the reformation of the mercer's jealous vixen is brought about by more humorous and less tragical means than the repentance of the law-stationer's "little woman." George the apprentice, through whose wit and energy this happy consummation becomes possible, is a very original and amusing example of the young Londoner of the period. But there is more humor, though very little chastity, in the "Chaste Maid"; a play of quite exceptional freedom and audacity, and certainly one of the drollest and liveliest that ever broke the bounds of propriety or shook the sides of merriment.