[8] References to the plays of Massinger are either by page and column of the Cunningham-Gifford edition of his works (designated C-G.), or, in the case of plays in the Beaumont & Fletcher _corpus_ in which he or Field collaborated, by volume and page of the Dyce edition (designated _D._). Field’s two independent comedies are referred to by page of the Mermaid Series volume which contains them: _Nero and Other Plays_ (designated _M._). [9] The figures for the speech-ending test for each scene will be found in the table at the end of this section, and are not given in the course of the detailed examination of the play, save in the case of one passage, where the ambiguity of their testimony is noted. In all other Scenes they merely corroborate the evidence of the other tests. [10] This is all the more rampant in that it is suddenly called back into activity after its period of obscuration while she yielded herself to a cynical, immoral opportunism, and is now brought, by a fearful shock, to confront higher ethical values and real manhood. For this time she is given not a Novall but a Charalois to idealize. [11] See the figure of Captain Pouts in _Woman is a Weathercock_. He might easily have been made a mere _miles gloriosus_; instead he is a real man,--coarse, revengeful, dissolute, quarrelsome, hectoring--no doubt at heart a coward, but not more absurdly so in the face of his pretensions than many of his type in actual life. For characters clearly visualized in a few simple strokes, may be noted in the same play Lady Ninny, Lucida, and, apart from one speech (M. 356-7) out of character obviously for comic effect, Kate; in _Amends for Ladies_, Ingen. Examples of Field’s power in more idealistic work may be found in _The Knight of Malta_ in the delineation of Montferrat’s passion (I, i) and in the scene between Miranda and Oriana (V, i). [12] Apparently _The Fatal Dowry_ was not performed every day.