Here we have vigorous writing, staid and grave and unimpassioned, and a more regular metre. In determining questions of authorship I have so often found myself (and others, too) at fault, that I shrink from adopting the dictatorial tone assumed in these matters by learned Germans and a few English scholars. But I think in the present instance we may speak with tolerable certainty. Before my mind had been made up, my good friend, Mr. Fleay, pronounced strongly in favour of Massinger. He is, I think, right; in fact, it is beyond the shadow of a doubt that Massinger wrote the speech quoted above. In all Massinger's work there is admirable ease and dignity; if his words are seldom bathed in tears or steeped in fire, yet he never writes beneath his subject. He had a rare command of an excellent work-a-day dramatic style, clear, vigorous, free from conceit and affectation. But he is apt to grow didactic, and tax the reader's patience; and there is often a want of coherence in his sentences, which amble down the page in a series of loosely-linked clauses. I will not examine scene by scene in detail; for I must frankly confess that I feel myself sometimes at a loss to determine whether a particular passage is by Fletcher or Massinger. Most of the impassioned parts belong, I think, to the former. I would credit Massinger with the admirably conducted trial-scene in the fourth act; but the concluding scene of the play, where Barnavelt is led to execution, I would ascribe, without hesitation, to Fletcher. In the scene (v. 1) where the French ambassador pleads for Barnavelt we recognise Massinger's accustomed temperance and dignity. To the graver writer, too, we must set down Leydenberg's solemn and pathetic soliloquy (iii. 6), when by a voluntary death he is seeking to make amends for his inconstancy and escape from the toils of his persecutors. There is no difficulty in fixing the date of the present play. Barneveld was executed on May 13, 1619, and the play must have been written immediately afterwards, when all Christendom was ringing with the news of the execution. In the third scene of the first act there is a marginal note signed "G.B." The initials are unquestionably those of Sir George Buc, Master of the Revels from 1610 to 1622.[141] On comparing the note with an autograph letter[142] of Sir George's I find the hand-writing to correspond exactly. The date, therefore, cannot be later than 1622, but the probability is that the play was produced at Michaelmas, 1619.