have called monodrama; and if cast into the monodramatic form common to all his later writings would have found a better if not a keener expression and left a clearer if not a deeper impression on the mind. For one example, the communing of old King Victor with himself on his return to the palace he has resigned is surely far more impressive and memorable to any reader than the rest of the play where his character is exhibited in the mutual action and reaction of dialogue among characters who seem unable to say rightly what they should say except when alone or secure from interruption. Even Chapman, from whom I may be thought to have wandered somewhat far in this inquiry as to what is or is not properly definable as obscurity, has in my judgment a sounder instinct of dramatic dialogue and movement than the illustrious writer who has carved out for himself in the second period of his career a new and better way to the end appointed by nature for the exercise of his highest powers; and Chapman was certainly not remarkable among the great men of his day for the specially dramatic bent of his genius.
