491 Though Rowe behaved badly in concealing his theft from Massinger, the critics have been unfair to his play. It is very instructive to compare the simple structure of _The Fair Penitent_, written on French lines, with the larger scheme and wealth of incident in _The Fatal Dowry_. We are reminded of the contrast between an English and a Dutch garden. After all, some people prefer their yew-trees cut into cocks and hens, while others do not. I can imagine a being who would prefer Gounod’s _Romeo and Juliet_ to Shakspere’s. In _The Fair Penitent_, the law-court scene, the father’s funeral, and the music-master disappear. We get the “gay Lothario” from this once popular play. Mr. Phelan (p. 60) has properly pointed out that “for Lothario we entertain a latent regard, for his elegant and gallant bearing,” whereas Novall, junr., “is not calculated to gain love.” In other words, while Massinger’s moral is superior, Rowe is more true to life. _Cf._ some interesting remarks by Hazlitt (_Dramatic Essays_, pp. 93-95) on Rowe’s play and Miss O’Neill as Calista. _ 492 Cf._ _Unnatural Combat_, III., 2, 144, and Fletcher, _passim_. _ 493 Cf._ I., 1, 203. 494 Novall never meant to marry Beaumelle. _Cf._ IV., 1, 100; V., 2, 264. 495 For a discussion of the authorship of the play, see Appendix XI. 496 There is much in Act III. of _A King and No King_ which reminds us of Malefort’s passion; but Massinger is a better moralist than the authors of that brilliant play. 497 Beaufort senior’s words in III., 2, 32-41, should, however, be carefully observed. 498 IV., 2, 87. _Cf._, however, Sir John Van Olden Barnavelt, III., 2. _ 499 E.g._, Charles’s speech about Cupid, V., 1, 33-60. 500 Act V. We must allow that Cleremond and Leonora are too long-winded. 501 We may conjecture that the missing part of Act I. contained (_a_) a scene in which “three citizens” described the situation, and the absence of the King; (_b_) a scene of love-making between Cleremond and Leonora, containing the incident referred to in II., 2, 93-100; (_c_) a scene in which Beaupré obtained Chamont’s protection, and asked for an introduction to Bellisant (_cf._ V., 1, 470). Bellisant may also have appeared before I., 4, as her denunciations of the gallants are referred to in II., 1, 23. And Bellisant knows in III., 3, 145, that Clarindore had “cast off” Beaupré. Clarindore is the sort of man who might have boasted of this. 502 V., 1, 520. Massinger did not like people who cannot keep a secret. _Cf._ _A Very Woman_, IV., 2, 142. 503 For a fuller discussion of this play and the MS., see Appendixes VII. and VIII. _ 504 Poetics_, 1451_a_, 16, 1451_b_, 34. 505 Touches which remind one of Massinger occur, but they are few and far between—_e.g._: