the first, chosen partly from the association of the story with the Muider Slot, is the tale told by Melis Stoke, and in a fine old ballad, of the vengeance executed on Count Floris V. for his violation of the wife of Geeraert van Velsen, and its national consequences. The patriotic note is struck in the character of Gysbrecht van Amstel, who resists the proposal to call in English aid against the Count, and in the eloquent, although dramatically irrelevant, closing prophecy of the liberation of Holland, the rise of the House of Nassau, the daring of Dutch navigators, and the greatness of Amsterdam. The Baeto dramatises a mythical story of the origin of Batavia, and emphasises in the hero the "pietas," the courage, and the love of peace which Hooft would have to be the fundamental virtues of his people. This political motive lends his tragedies a warmth which is too often lacking to the Renaissance plays on classical subjects, but the interest and beauty appear in the poetry alone. Dramatically they have all the faults of their kind, but they contain fine descriptions, elevated speeches, and musical choruses. Hooft's master in the latter was Garnier. In Geeraert he adopts two or three of that poet's metres, and handles them with skill. In the Baeto he put some of his weightiest thought and sincerest feeling into delightful lyrical measures. There is a chorus on the return of spring which has some of the music of Mr Swinburne's "The hounds of spring are on winter's traces"; one on the blessings of peace which throbs with noble emotion; and the most mov-
