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‘ [262] and scholar, I hope I know how to treat him; but neither Pindar nor Euripides ever wrote pamphlets against the Church of England, by G—! It won't do, Mr. Milton!’ This, it may be supposed, is Mr. Masson's way of being funny and dramatic at the same time. Good taste is shocked with this barbarous dissonance. Could not the Muse defend her son? Again, when Charles I., at Edinburgh, in the autumn and winter of 1641, fills the vacant English sees, we are told, ‘It was more than an insult; it was a sarcasm! It was as if the King, while giving Alexander Henderson his hand to kiss, had winked his royal eye over that reverend Presbyter's back!’ Now one can conceive Charles II. winking when he took the Solemn League and Covenant, but never his father under any circumstances. He may have been, and I believe he was, a bad king, but surely we may take Marvell's word for it, that

He nothing common did or mean,

upon any of the ‘memorable scenes’ of his life. The image is, therefore, out of all imaginative keeping, and vulgarizes the chief personage in a grand historical tragedy, who, if not a great, was at least a decorous actor. But Mr. Masson can do worse than this. Speaking of a Mrs. Katherine Chidley, who wrote in defence of the Independents against Thomas Edwards, he says, ‘People wondered who this she-Brownist, Katherine Chidley, was, and did not quite lose their interest in her when they found that she was an oldish woman, and a member of some hole-and-corner congregation in London. Indeed, she put her nails into Mr. Edwards with some effect.’ Why did he not say at once, after the good old fashion, that she ‘set her ten commandments in his face’? In another place he speaks of ‘Satan standing with his staff around him.’ Mr. Masson's style, a little

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