strictly, within the last stage of the period that began with Elizabeth
and continued throughout the reigns of her two successors. His first
tragedy, _Albovine, King of the Lombards_, was brought out in 1629;
and his earlier work was therefore contemporary with that of Massinger
and Ford. But much beyond this his relation to the Elizabethans can
hardly claim to go. Charity may allow him some faint and occasional
traces of the dramatic power which is their peculiar glory; and this
is perhaps more strongly marked in his earliest play than in any of
its successors. What strikes us most forcibly, however--and that, even
in his more youthful work--is the obvious anticipation of much that
we associate only with the Restoration period. The historical plot,
the metallic ring of the verse,

[Footnote: I take two instances from _Albovine_.--

(1) Let all glad hymns in one mix'd concord sound,
And make the echoing heavens your mirth rebound.--Act i.

(2) I am the broom of heaven; when the world grows foul,
I'll sweep the nations into the sea, like dust.--Act ii.

It is noticeable that both passages are spoken by Albovine himself,
a very creditable elder brother of Dryden's Maximin and Almanzor. One
more passage may be quoted, from the _Just Italian_ (1630):--

The sacred noise attend that, whilst we hear,
Our souls may dance into each others' ear.--Act v.

It will be observed that two out of the above passages, coming at the
end of scenes, are actually in rhyme, and rhyme which is hardly