The same consideration applies to a feature in Massinger which will strike every reader. He sets himself at times to represent growth, or, at any rate, change, of character. Even Shakspere seldom tries to do this,(211) and it was too hard a task for his pupil. His most ambitious venture in this direction is in _The Picture_. In that play Mathias has a magic portrait, which shows him whether his wife is faithful to him or not in his absence; and the alternations of the mind in husband and wife alike are drawn with considerable power. Luke in _The City Madam_ is perhaps the most skilfully drawn example of a development of character. The hypocrite is quite carried away by the riches to which he unexpectedly succeeds.(212) Another successful conversion is that of Theophilus at the end of _The Virgin Martyr_. It is due partly to his eating the heavenly fruit, for which he had asked Dorothea at her death, partly to the effect which the grace and beauty of Angelo produce on his mind. The gradual growth of his new belief, in spite of all that Harpax can do, is managed with much skill, and it is in itself true to nature that the man who had been violent in one direction should ultimately be violent in another. Moreover, we are bound to remember that when people are soon persuaded, the play gets on. Indeed, I think we have in this consideration the clue to the whole matter; “the Stage Poet” had a practical mind. Change of mood and vacillation of purpose, under the stress of temptation, or due to the conflict of contrary impulses, are features of some of Massinger’s best scenes. The wavering of the love-sick Caldoro while Durazzo is abusing him is very true to life.(213) The skill with which the “melancholy” Vitelli’s changes of mood are depicted in _The Renegado_(214) suggests the theory that Massinger is drawing his own portrait. The alternation of pride and humility in Honoria in _The Picture_(215) is forcibly shown. The just anger of Sophia at the end of the same play yields skilfully to a combined intercession. As a rule, however, the changes are too rapid. Thus, in _The Maid of Honour_, Aurelia, when she hears that Camiola has ransomed Bertoldo and bound him with a promise to marry her, suddenly changes her mind; she has been on the point of marrying the faithless soldier, but, as she says: On the sudden I feel all fires of love quench’d in the water Of my compassion.(216) Though the change is natural, it is inartistically effected; it comes too suddenly. Think, however, what an opportunity this would be for a great actress. If we were in the audience, we should see the gradual development reflected in her expression and bearing long before she utters the words which embody her thought.