_ 121 Cf._ Shakspere’s _Julius Caesar_, where the hero dies in the third act; but the plot is not felt to have exhausted itself until Brutus and Cassius are disposed of. 122 Massinger is very sparing in his use of prose in his plays, though Fleay goes too far when he says: “Neither Fletcher nor Massinger admits prose” (_Shakespeare Manual_, p. 71). The grace of Massinger’s dedications is very marked when compared with the stilted and obscure style of Ford’s. 123 C. Lamb. 124 Lines referring to Massinger quoted by Langbaine. _ 125 Bondman_, IV., 2, 51-88. 126 I., 2, 147. 127 I., 3, 268-30 6. 128 I., 3, 49-142. 129 II., 4, 22-35. 130 I., 3, 51-74. 131 IV., 3, 124-138. 132 V., 1, 42-60. _ 133 Cf._ Prologue to _Henry V_, line 4, a passage imitated and expanded in _The Virgin Martyr_, V., 2, 98-102. 134 We have a Somersetshire rustic in _The Emperor of the East_, IV., 2. _Cf._ Schmidt’s _Shakespeare Lexicon_, Appendix II., p. 1424. “In general it can be said that Shakspere abstains from the use of provincial dialects, as characteristic of his dramatical persons.... It is only on one occasion that he seems to imitate the peculiar speech of a certain dialect: _King Lear_, IV., 6, 239-251. Concerning the particular county there referred to English scholars have been of different opinions. Steevens pleads for Somersetshire, in the dialect of which rustics were commonly introduced by ancient writers; Collier inclines to decide in favour of the North.” _Cf._ Mr. H. Bradley’s remarks in _Shakspere’s England_, II., p. 570. In _Bartholomew Fair_, IV., 3, a contrast is drawn between the dialect of a rustic from the West and one from the North. Urania’s dialect in _Cupid’s Revenge_ cannot be pronounced a success, or Antonio’s Irish in _The Coxcomb_. _ 135 City Madam_, II., 2, 128. Among the things which Anne demands from her suitor, is: A fresh habit, Of a fashion never seen before, to draw The gallants’ eyes, that sit on the stage, upon me. _Cf._ also Induction to _The Malcontent_; Induction to _The Staple of News_; Induction to _Cynthia’s Revels_; Fitzdottrel in _The Devil is an Ass_, I., 3; Induction to _Knight of the Burning Pestle_; _Woman-Hater_, I., 3; Prologue to _All Fools_; and Dekker’s _The Guls Horne-booke_, Chapter VI.