that divine Shakespearean fragment may not haply have been written by the author of the first.  The visible and audible evidence that it cannot is of a kind which must at once leap into sight of all human eyes and conviction of all human ears.  The metre of Shakespeare’s verse, as written by Shakespeare, is not the metre of Fletcher’s.  It can only seem the same to those who hear by finger and not by ear:  a class now at all events but too evidently numerous enough to refute Sir Hugh’s antiquated objection to the once apparently tautologous phrase of Pistol. {205}

It is of course inexplicable, but it is equally of course undeniable, that the mention of Shakespeare’s Pericles would seem immediately and invariably to recall to a virtuous critical public of nice and nasty mind the prose portions of the fourth act, the whole of the prose portions of the fourth act, and nothing but the prose portions of the fourth act.  To readers and writers of books who readily admit their ineligibility as members of a Society for the Suppression of Shakespeare or Rabelais, of Homer or the Bible, it will seem that the third and fifth acts of this ill-fated and ill-famed play, and with them the poetical parts of the fourth act, are composed of metal incomparably more attractive.  But the virtuous critic, after the alleged nature of the vulturine kind, would appear to have eyes and ears and nose for nothing else.  It is true that somewhat more of humour, touched once and again with subtler hints of deeper truth, is woven into the too realistic weft of these too lifelike scenes than into any of the corresponding parts in Measure for Measure or in Troilus and Cressida; true also that in the hands of imitators, in hands so much weaker than Shakespeare’s as were Heywood’s or Davenport’s (who transplanted this unlovely episode from Pericles into a play of his own), these very scenes or such as they reappear unredeemed by any such relief in all the rank and rampant ugliness of their raw repulsive realism:  true, again, that Fletcher has once equalled them in audacity, while stripping off the nakedness of his subject the last ragged and rude pretence at a moral purpose, and investing it instead with his very brightest robe of gay parti-coloured humour:  but after all it remains equally true that to senses less susceptible of attraction by carrion than belong to the vultures of critical and professional virtue they must always remain as they have always been, something very considerably more than unattractive.  I at least for one must confess myself insufficiently virtuous to have ever at any time for any moment felt towards them the very slightest touch of any feeling more attractive than repulsion.  And herewith I hasten to wash my hands of the only unattractive matter in the only three of Shakespeare’s plays which offer any such matter to the perceptions of any healthy-minded and reasonable human creature.