172 In this respect Massinger resembles Beaumont and Ford, whose metre in divided lines, unlike Webster’s and Fletcher’s, is very regular. Shirley’s plays are full of lame lines. For strict division _cf._ _City Madam_, I., 3, 44; II., 1, 109; V., 1, 4 and 70; V., 2, 66; V., 3, 126; _Guardian_, I., 1, 80, 221, 308; II., 3, 116; III., 2, 61; IV., 3, 16; _New Way_, I., 2, 48 and 63; II., 2, 151; III., 2, 241; V., 1, 233; _Very Woman_, I., 1, 26 and 147; V., 6, 31; _Bashful Lover_, I., 1, 114, 163, and 207; II., 2, 36, 37; II., 3, 9; II., 4, 42; III., 1, 99; III., 3, 71 and 80; V., 1, 39, 40, 48, 50, 176; _Roman Actor_, I., 3, 32. Instances can be given of lines divided between four speakers—e.g., _Very Woman_, V., 3, 23; V., 4, 167; _Bashful Lover_, II., 7, 20; _Roman Actor_, I., 4, 50; IV., 1, 83; _Guardian_, V., 4, 209. The carelessness of the metre in _The Old Law_ is in itself proof that Massinger had little to do with it. 173 An instance of “emphatic” double-ending (_Oliphant_, _E. S._, xiv., 71), common in Fletcher, rare in Massinger. 174 I., 5, 38. 175 V., 1, 226. _ 176 Cf._ also Matilda in _The Bashful Lover_ (IV., 3, 170), and Olinda in _The Lovers’ Progress_. _ 177 Frogs_, l. 1413. _ 178 Cf._ the dialogue in _A Very Woman_, I., 1, 1-24. “Heaven’s greatest blessings” (line 21) is a very characteristic phrase. _Cf._ also _Emperor of the East_, II., 1, 216. 179 Boyle (_N. S. S._, 385-88) is severe but not, to my mind, convincing. Reading between the lines, one arrives at the conclusion that Boyle admired Massinger enormously, and would have allowed none else to abuse him except himself. _Cf._ his spirited attack on Charles Lamb’s “unfair judgment” (pp. 371-2). 180 Rubens took his wives as models for his art; let us hope that Massinger’s portrait of the imperious woman was not drawn from his wife. We happen to know that he was married. 181 I., 1. _Cf._ also Matilda in _The Bashful Lover_ (III., 3, 147), and Donusa in _The Renegado_ (II., 4). 182 IV., 1; V., 4. _Cf._ also Thamasta in Ford’s _Lover’s Melancholy_ (III., 2), Calantha’s request to her father in _The Broken Heart_ (IV., 3), Fiormonda in _Love’s Sacrifice_ (I., 2), Hidaspes in _Cupid’s Revenge_ (I., 3). 183 Act I., 3. 184 III., 1, 161. _Cf._ also _Romeo and Juliet_, I., 5, 95. 185 The situation is not unknown in modern fiction; take, for example, _Dr. Breen’s Practice_ and _The House of Lynch_. _Cf._ Jebb’s _Bentley_, p. 197. _ 186 Op. cit._, p. 317. 187 A favourite phrase of Massinger’s—e.g., _Emperor of the East_, II., 1, 345; V., 2, 83; _Great Duke of Florence_, II., 3, 112; _Unnatural Combat_, I., 1, 312; IV., 1, 110; _Parliament of Love_, II., 3, 77. 188 B. Matthews, p. 318.