I believe that he had another shaft in his quiver. He occasionally suppressed a short syllable at the close of the line, and more rarely in the early part, with the result that an anapaestic lilt of some effectiveness makes its appearance. An example from _The Emperor of the East_ will make this clear. PULCHERIA. What ís thy náme? ATHENAIS. The forlorn Áthenáis (I., 1, 342). If the stresses are placed as above, it is clear that there is a syllable suppressed after the word “forlorn,” a three-syllable foot in the third place, and an anapaestic lilt, “the forlorn.” Nor is Massinger alone in this device; instances from other poets are quoted below. This theory conflicts with the dictum of Schmidt in his Shaksperian lexicon, that words like “forlorn,” “complete,” “supreme,” “conceal’d,” can be stressed either on the first or second syllable, the stress being on the first syllable when the stress in the following word falls on the first syllable. Presumably Schmidt would have scanned the line in question thus: What ís thy náme? The fórlorn Áthenáis. Schmidt’s dictum, however, will not explain all the cases quoted below, and it is worth considering whether it is not a simpler solution of the problem to suppose that our Elizabethan poets combined uniformity of accent with variety in the metre, sometimes applied more than once in the same line. It is clear that lines which contain a past participle like “condemned” cannot be used for the purposes of this argument, as such words may have been scanned as two syllables or three. The following cases will support my suggestion. The list does not profess to be a complete summary of the evidence. 1. _The Emperor of the East_, III., 4, 139: To búild me úp a compléte^prínce, ’tis gránted. 2. _The Duke of Milan_, III., 1, 32: Mónkeys and páraquíttos consúme^thóusands. (Here the first foot is a trochee. _Cf._ _infra_, Nos. 6, 8, 20, 21, 36, 43, 48.) 3. _The Bondman_, I., 1, 65: Of stránge and resérved párts; but a gréat^sóldier. 4. _The Bondman_, II., 1, 143: Which súllied wíth the tóuch of impúre^hánds. 5. _The Bondman_, III., 3, 89: Were thís sad spéctaclé for secúre^gréatness. 6. _The Bondman_, IV., 3, 192: Máde for your sátisfáction, the póor^wrétch. 7. _The Bondman_, V., 2, 20: All éngines tó assáult him. Indéed^vírtue. 8. _The Renegado_, I., 1, 81: Ín a relígious schóol, where divíne^máxims. 9. _The Renegado_, I., 3, 152: Have cálled your ánger ón, in a frówn^shów it. 10. _The Renegado_, II., 4, 58: Displéasures agaínst^thóse, withóut whose mércy. 11. _The Renegado_, III., 2, 36: I é’er had íreful fiérceness, a stéel’d^héart. 12. _The Renegado_, IV., 3, 79: Forsáke a sevére,^náy, impérious místress. 13. _The Renegado_, V., 1, 7: That wíll for éver árm me agaínst^féars. 14. _The Great Duke of Florence_, I., 1, 127: And íf my grácious úncle, the gréat^dúke.