escribing
the most forced situations and passions without being aware of his want
of power, that especially the catastrophe of the second part, which is
intended to surpass every conceivable horror, is introduced in a trivial
manner, merely producing a ludicrous effect, and that the whole was like
a child's drawings, wholly unmindful of the laws of proportion."

Ulrici maintains that "Jeronimo" itself may be treated as a play in
three parts connected only externally: first, the war between Portugal
and Spain; second, the life and death of Don Andrea, and third the acts
of Jeronimo, who is, however, only a subordinate character. But whether
the play be treated as a whole or as composed of substantially separate
parts, its action and interest are centred in the story of the love of
Don Andrea and Bellimperia; Lorenzo, her brother, persecutes both
because he is jealous of Andrea's success. Andrea is finally killed; at
his funeral, his ghost appears for no assigned reason, except to
exchange greeting with his friend Horatio. "Revenge" and Charon also
appear, the one "to forbid Andrea's ghost from divulging the secrets of
Hell, the other to accompany him back to the lower regions," and the
learned critic adds that "this allegorical by-play is inserted so
arbitrarily, so inappropriately and so unmeaningly, that it forms the
best standpoint for judging the piece as regards its composition and
poetical character. _In this respect its value is next to nothing._"

If Kyd wrote "Jeronimo," of which there is no satisfactory proof, and
if Shakspere wrote "Titus," "much in the manner of Kyd," which we
venture to think more doubtful than the authorship of "Jeronimo," then
Shakspere's supposed imitation was much "better" than the original
"popular thing."

That Kyd wrote "The Spanish Tragedy, containing the lamentable end of
Don Horatio and Bellimperia with the pitifull Death of Old Hieronimo,"
first published in 1599, is certified by Heywood in his "Apology for
Actors," and there is good authority for the opinion that it was acted
as early as 1588. We quote the summary of the plot:

"It is not wanting in absurdities, for the play opens and is connected
with 'Jeronimo' by a conversation between Andrea's ghost and 'Revenge';
both remain continually on the stage as silent, invisible spectators, in
order, at the end of every act, to add a few words, in which Andrea
laments over the delay in the revenge of his death upon the Infanta
Be