with D. XI. 37, and the general likeness of l. 258 ff. with C-G. 44 b-45 a, as above noted. Nor do the verse tests reveal any break in the continuity of the Scene; the figures for the first part are: double endings, 45 per cent.; run-on lines, 33 per cent.—for the second part: double endings, 36 per cent.; run-on lines, 36 per cent. Passing to the Second Act, we discover at once a new manner of expression, in which the sentence has a looser structure, the verse a quicker tempo, the poetry a striving now and again for a note of lyric beauty which, although satisfactorily achieved in but few lines, is by Massinger’s verse not even attempted. A liberal sprinkling of rhymes appears. The Scene is a trifle more vividly conceived; the emotions have a somewhat more genuine ring. Simultaneously, resemblances to the phraseology of Massinger’s other plays become infrequent; and, to increase the wonder, is almost the only reminder of him in the whole of Scene i. On the other hand we must not expect to find in the work of Field the same large number of recognizable expressions as mark that of Massinger; for he was not nearly so given to repeating himself, nor are there many of his plays extant from which to garner parallels. The figure of speech with which Charalois opens his funeral address [Field shows a great predilection for “aqueous” similes and metaphors], the liberal use of oaths (’Slid, ’Slight), a reference (l. 137) to the Bermudas (also mentioned in Amends for Ladies: M. 427), and the comparison to the oak and pine (ll. 119–121—cf. a Field Scene of The Queen of Corinth: D. V, 436–7) are the only specific minutia to which a finger can be pointed. The verse analysis testifies similarly to a different author from that of Act I, double endings being 20 per cent., run-on lines 15 per cent.—figures which are quite normal to Field. To the actor-dramatist may be set down the prose of II, ii without question. Massinger practically never uses prose, which is liberally employed by Field, as is the almost indistinguishable prose-or-verse by which a transition is made from one medium to the other. The dialogue between Beaumelle and her maids is strikingly like that between two “gentlewomen” in The Knight of Malta, I, ii—a Scene generally recognized as by his hand; the visit of Novall Junior which follows is like a page out of his earlier comedies. Notable resemblances are ll. 177–8, Uds-light! my lord, one of the purls of your band is, without all discipline, fallen out of his rank, with I have seen him sit discontented a whole play because one of the purls of his band was fallen out of his reach to order again. (Amends
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