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But let each letter in that tragic sound
Friar. Oh, hold the duke's hand!
Duke. Do, do; I was too willing to strike home
“ The catastrophe of this drama,” as Mr. Gifford observes, with a severity which extracts less cautious than our own would have sufficiently justified, “ does not shame its progress. The duchess dying in odour of chastity, after confessing and triumphing in her lascivious passion; the poor duke, in defiance of it, affirming that“no man was ever blest with so good and loving a wife," and falling upon his sword, that he may the sooner share her tomb, together with his unequalled friend,” who so zea
lously had laboured to dishonour him; with other anomalies of a similar kind, render this one of the least attractive of Ford's pieces; it is not, however, without its beauties, many scenes are charmingly written for the greater part, and few of our author's works contain more striking examples of his characteristic merits and defects.”
THE FANCIES, CHASTE AND NOBLE.
The leading characters in this play are well conceived, and judiciously sustained; but their merits grow out of a plot, so revolting in its nature, that only one specimen of the dialogue in the principal story can with propriety be exhibited to the reader.
The second or under-plot of Julio and Flavia, like most of our author's intermedes, contributes nothing to the advancement of the main-story: it is not, however, without merit, and will tell its own tale.