189 Especially Sir A. W. Ward (_English Dramatic Literature_, iii., pp. 41-42). _Cf._ also G. C. Macaulay in _Cambridge History of English Literature_, vol. vi., p. 121, and Schelling’s verdict. 190 The Venetian in _The Renegado_. 191 Dr. Bradley (_Oxford Lectures_, pp. 373-4) minimizes the objections to this custom, without, however, dwelling on the moral problem. _Cf._ also Mr. Percy Simpson’s remarks in _Shakspere’s England_, ii., p. 246. Prynne deals with it (_Histriomastix_, ed. 1633, pp. 214-216). He allows, reluctantly, that “men actors in women’s attire are not altogether so bad, so discommendable as women stage-players,” but goes on to say: “since both of them are evill, yea extremely vitious, neither of them necessary, both superfluous as all playes and players are; the superabundant sinfulnesse of the one, can neither justifie the lawfulnesse, nor extenuate the wickednesse of the other.... This should rather bee the conclusion, both of them are abominable, both intolerable, neither of them laudable or necessary; therefore both of them to bee abandoned, neither of them henceforth to be tollerated among Christians.” Ford, in _Love’s Sacrifice_ (III., 2), refers to the novelty of women-antics—_i.e._, of women acting in masques. It is clear that Queen Henrietta Maria, with her passion for appearing on the stage in masques, however much she may have been before the times, must have caused great scandal to the Puritan party. The complications which sometimes arise from the use of men for female parts may be illustrated from Middleton’s amusing play, _The Widow_, where Martia is disguised as a man, Ansaldo, and, to escape further complications, is subsequently disguised as a woman, _being a boy all the time_. We find the same thing in the second Luce in _The Wise Woman of Hogsdon_. _ 192 Supra_, p. 38. 193 Though Massinger does not owe much to Chapman, it is to be noted that this trick of repeating a phrase occurs several times in Chapman’s popular play, _Bussy d’Ambois_. _Cf._ III., 1., “He shall confess all, and you then may hang him,” and towards the end of the same Act, “Ay, anything but killing of the King;” and in _The Conspiracy of Byron_, Act II., in La Fin’s speech, “I can make good” four times at the end of the line. _Cf._ “Behold the Turk and his great Empress” in _Tamburlaine_, pt. I., V., 1; “I love my lord; let that suffice for me” in Greene’s _Orlando Furioso_, I., 1. _ 194 A Very Woman_, III., 4. 195 A few instances of γνῶμαι may be given from Massinger; his debt to Shakspere will be clear: _Fatal Dowry_, I., 1, 20: There is a minute When a man’s presence speaks in his own cause More than the tongues of twenty advocates. _Guardian_, I., 1, 241: