A. H. C.: Massinger can be traced at the beginning of Act I., 1 and in Act III., 1 and Act IV., 5. The resemblances are rather slight, and it is possible that they are due to the fact that Fletcher occasionally imitated Massinger. 17. _The Lover’s Progress._ (Massinger and Fletcher.) M.: Act I., 1, 2 (to “Enter Malefort”); Act II., 2; Act III., 4, 6 (last two speeches); Act IV.; Act V. A. H. B. thinks it is “by Fletcher, with large alterations by Massinger.” He refers to the explicit statement in the Prologue where the reviser declares himself to be— ambitious that it should be known What’s good was Fletcher’s, and what ill his own, a statement in harmony with Massinger’s well-known modesty. A. H. C.: Massinger wrote Act I., 1, Act II., 2. There are traces of his work in Act III., 4, 6; Act IV., 2, 4; Act V., 1, 3. The improbabilities of the plot—_e.g._, the action of Clarangé—are due to Fletcher. It is clear from the Prologue that the original play was too long. Massinger probably cut it down, by leaving out, among other things, scenes in which Lisander killed his two foes. The play is probably to be identified with _The __ Wandering Lovers_ or _The Picture_, entered as by Massinger in the Stationers’ Register, September 9th, 1653. 18. _The Spanish Curate._ (Massinger and Fletcher.) M.: Act I.; Act III., 3; Act IV., 1, 4; Act V., 1, 3. A. H. B. agrees. Macaulay adds Act IV., 2 to Massinger. A. H. C.: Massinger can be clearly traced in Act I., 1, Act V., 1; not in Act V., 3. The trial scene (Act III, 3), though on slighter lines than he uses as a rule, may be due to him. 19. _The Fair Maid of the Inn._ (Massinger and Fletcher.) M.: Act I.; Act III., 2; Act V., 3. A. H. B. attributes to Rowley and Massinger, and thinks Fletcher’s share very small. Macaulay assigns to “Massinger and another (not Fletcher).” A. H. C.: Massinger wrote Act I., Act V., 3 as far as Clarissa’s speech. Fletcher wrote Act II., Act III., Act IV., Act V., 1, 2. The mother’s device to save her son is the sort of improbability from which Fletcher does not shrink. 20. _A Very Woman._ (Massinger and Fletcher.) M.: Act I.; Act II., 1, 2, 3 down to “Enter Pedro”; Act IV., 1, 3. A. H. B. identifies this play with _The Woman’s Plot_, acted at Court in 1621. In its present state it is a version of a play by Fletcher, revised for a revival by Massinger in 1634. Macaulay assigns Act III. and Act IV., 1, 2, 3 to Fletcher. For a discussion of this play _cf._ pp. 129-131. 21. _The Second Maiden’s Tragedy._ (Massinger, Tourneur.) M.: Act I., Act II. In _Eng. Stud._, ix. 234, Boyle, with some hesitation, regards this play as “an early, anonymous, and unsuccessful attempt of Massinger’s.” Whoever wrote it, the work is immature. A. H. C. I find no trace of Massinger in this play, but a great deal of Tourneur’s manner. _Cf._ Appendix XIII. 22. _Love’s Cure._ (Massinger and (?) Middleton.) M.: Act I.; Act IV.; Act V., 1, 2.