One or two simple instances of this fact may be quoted: the characters in Massinger are very fond of blushing;(382) references to the talkativeness of women are frequent;(383) metaphors from the sea and sailing are very common;(384) people are fond of saying that they mean to do something but they do not know what;(385) the exact courtier kneels and kisses the robe of a lady or her foot, and is sometimes rebuked for doing so.(386) As a good moralist, Massinger dislikes suicide(387) and duelling.(388) The latter practice is referred to in his plays as a new-fangled importation from abroad. Let us now quote some of his favourite words: references need not be given for “honour”; wherever we find “atheist” for a bad man,(389) or “magnificent” for munificent,(390) or the Latin phrase “nil ultra,”(391) or the Greek words “apostata”(392) and “embryon”;(393) wherever we find “frontless”(394) impudence and “sail-stretched” wings(395) and “libidinous”(396) Caesars; wherever the moisture of the lips is compared to nectar,(397) wherever we read of “the centre”(398) or of “horror,”(399) or of washing an Ethiop,(400) there we are on familiar ground. Again, it is a characteristic of Massinger, which offends some of his readers more than others, that he is always ready with the obvious remark. Thus, when Marrall, after a career of tergiversation is finally kicked off the stage, he says: This is the haven False servants still arrive at.(401) In _The Emperor of the East_, when the complications about Paulinus’ apple are getting rather serious, the Princess Flaccilla makes the remark, which is certainly in the mind of the reader: All this pother for an apple!(402) When Leosthenes allows himself to be intolerably coarse in his language to Cleora, we read these words: CLEORA. You are foul-mouth’d. ARCHEDAMUS. Ill-manner’d, too.(403) When Hilario seeks to amuse his mistress with an absurd message from the front, and she observes, “This is ridiculous,”(404) we feel inclined to say, “Not only ridiculous, but not worth writing.” When Cardenes, after lying as dead for some time, gives signs of life, the Viceroy very justly observes: This care of his recovery, timely practis’d, Would have expressed more of a father in you, Than your impetuous clamours for revenge.(405) It will be remembered that Shakspere had used this device in his day. Compare _Richard II_: “Can sick men play so nicely with their names?”(406) _Midsummer-Night’s Dream_: “Lord, what fools these mortals be!”(407) _1 Henry VI_: “Here is a silly stately style indeed!”(408)