_If the poet were also the writer of the prose sections, it would be wrong to ignore the statement that Mary’s uncle, after their visit to the Pope, lived yet, according to the earliest version, for twenty-four years in his village near Nimmegen. The author recording events of a quarter of a century ago would, in that case, have written, at the earliest, in the year 1498. But there is good ground to believe that the poet was not responsible for the interpolated prose, which is not essential to the play on the stage. Some Dutch critics hold the prose to be part of the drama as originally written, and intended to be spoken by a stage manager who supplied in his narrative the missing links between the scenes. But the fact is that only in a few instances does the prose serve that purpose, and in those isolated cases the imagination of the audience could be relied upon to help itself. By far the greater part of the prose narrative either repeats the drift of the preceding dialogue or anticipates the incidents of later scenes. The first meeting between Mary and her aunt is introduced by a short account in prose from which we gather that the aunt “held of the side of the young Duke, and after did destroy herself whenas she learned that the old Duke was made quit of prison”. If this was destined to be addressed to the audience from the stage, not the past, but the present, tense would have been in order. But apart from this grammatical unfitness for a speaker’s role, these words are dramatically unfit as they forestall the surprise of the audience at the aunt’s scornful reception of her niece. That the author can not be guilty of thus crudely spoiling his own creation is sufficiently evident from many instances of his insight into the exigencies of dramatic technique. By premonition and foreboding he will give the audience an inkling of imminent calamity, but to blurt out the full truth before the truth is seen in action is not his manner. When Mary has departed from her uncle, the good priest becomes aware of a heaviness that he can not explain_: “_Scarce had the maiden from me gone,_ _It came o’er my spirits, how I can not tell._ _I fear with her or me ’twill not go well._” _The audience get an intimation that something awful is impending, but they are kept in suspense as to what it will be and who will be the victim, whether Mary or her uncle. In that we observe the subtle touch of the artist who wrote the dialogue. He can not have been the same man who inserted the superfluous and meddlesome prose._