I have left myself little space in which to speak of Ford, but it will suffice. In reading him again after a long interval, with elements of wider comparison, and provided with more trustworthy tests, I find that the greater part of what I once took on trust as precious is really paste and pinchbeck. His plays seem to me now to be chiefly remarkable for that filigree-work of sentiment which we call sentimentality. The word “alchemy” once had a double meaning. It was used to signify both the process by which lead could be transmuted into gold, and the alloy of baser metal by which gold could be adulterated without losing so much of its specious semblance as to be readily detected. The ring of the true metal can be partially imitated, and for a while its glow, but the counterfeit grows duller as the genuine grows brighter with wear. The greater poets have found out the ennobling secret, the lesser ones the trick of falsification. Ford seems to me to have been a master in it. He abounds especially in mock pathos. I remember when he thoroughly imposed on me. A youth, unacquainted with grief and its incommunicable reserve, sees nothing unnatural or indecent in those expansive sorrows precious only because they can be confided to the first comer, and finds a pleasing titillation in the fresh-water tears with which they cool his eyelids. But having once come to know the jealous secretiveness of real sorrow, we resent these conspiracies to waylay our sympathy,--conspiracies of the opera plotted at the top of the lungs. It is joy that is wont to over-flow, but grief shrinks back to its sources. I suspect the anguish that confides its loss to the town-crier. Even in that single play of Ford’s which comes nearest to the true pathetic, “The Broken Heart,” there is too much apparent artifice, and Charles Lamb’s comment on its closing scene is worth more than all Ford ever wrote. But a critic must look at it _minus_ Charles Lamb. We may read as much of ourselves into a great poet as we will; we shall never cancel our debt to him. In the interests of true literature we should not honor fraudulent drafts upon our imagination. Ford has an air of saying something without ever saying it that is peculiarly distressing to a man who values his time. His diction is hackneyed and commonplace, and has seldom the charm of unexpected felicity, so much a matter of course with the elder poets. Especially does his want of imagination show itself in his metaphors. The strong direct thrust of phrase which we cannot parry, sometimes because of very artlessness, is never his. Compare, for example, this passage with one of similar content from Shakespeare:--