Next, with regard to style and expression, when we remember the intimacy of the two men, it is quite possible that Massinger imitated Fletcher consciously or unconsciously at some time of his life, and _vice versa_. Or we may put it in this way: there was a certain amount of conventional stock-in-trade common to the two writers, such a phrase, for instance, as, “To the temple” when the inevitable marriage ceremony is to take place. It would be absurd to suppose that Fletcher never used such a phrase as “write nil ultra,” which is no doubt a distinguishing mark of Massinger’s style. Again, Fletcher may have worked over drafts of scenes in the first instance written by Massinger, and there is evidence for supposing that in many cases revision for a revival rather than co-operation is the clue. Massinger’s good judgment would make him an excellent reviser. It must, however, be allowed that the large amount of agreement between two experts such as Boyle and Bullen is remarkable. We cannot acquit those who produced the Folio of Beaumont and Fletcher in 1647 of negligence in omitting to give their due to Massinger and other collaborators. On the other hand, it might be argued that if Massinger’s share in Fletcher’s plays were as large as Boyle believes it to have been, the Folio would for very shame have acknowledged it; and it must be pointed out that the large mass of commendatory verses prefixed to the Folio entertains no doubt of the traditional authorship.(537) Believing that the matter of first importance is to estimate Massinger from the plays which he undoubtedly wrote, I have not given above my evidence in full for the impressions which I have formed of the “collaborated” plays. The results of my study of these plays may be summarised as follows: Massinger wrote considerable portions of _The Prophetess_, _The False One_, and _Sir John Van Olden Barnavelt_. His work can be traced in _Thierry and Theodoret_ and _The Bloody Brother_. He wrote the greater part of Acts I. and V. of _The Queen of Corinth_, and of Acts I. and V. of _The Elder Brother_. He wrote much of the same acts in _The Little French Lawyer_, _The Spanish Curate_, _The Fair Maid of the Inn_. He may have assisted in _The Knight of Malta_. He revised for subsequent performance _The Custom of the Country_ and _The Lover’s Progress_. He had nothing to do with _The Honest Man’s Fortune_, _The Sea Voyage_, _The Double Marriage_, _The Beggars’ Bush_, _Love’s Cure_, _The Laws of Candy_, _The Captain_, _The Cure for a Cuckold_, _The Island Princess_. In my opinion, Massinger’s hand can be most clearly discerned in (1) serious plays; (2) the serious parts of plays; (3) the first and last acts of a joint composition.(538) APPENDIX IV. ON THE INFLUENCE OF SHAKSPERE The instances quoted in the text can be supplemented by many others. Compare the diction and thought of the following passages: _Maid of Honour_, IV., 3, 61: Ministers of mercy, Mock not calamity.