With the next Scene the hand of Massinger is once more in evidence with all its accustomed manifestations. One interested in his duplication of characteristic phrasing may refer for comparison ll. 13-4 to C-G. 299 b; l. 17 to C-G. 241 a; ll. 24-6 to C-G. 547 b; ll. 29-30 to C-G. 425 b; l. 57 to C-G. 41 b, 70 b; l. 94 to C-G. 182 b. The Scene contains 32 per cent. double endings and 37 per cent. run-on lines. The authorship of its two songs is less certain. Field was more given to song-writing than was Massinger, and the second of this pair is reminiscent in its conception of the Grace Seldom episode in _Amends for Ladies_ (II, i). The short IV, iii is by Massinger. In evidence of him are its 36 per cent. of double endings and 55 per cent. of run-on lines, its involved sentence structure, and the familiar phrasing which makes itself manifest even in so brief a passage (e. g.: _To play the parasite_, l. 7--cf. V, iii, 78 and C-G. 334 b. Cf. also ll. 9-10 with D. III, 476; and l. 22 with C-G. 40 b, 153 a, 262 b.). The same dramatist’s work continues through the last Scene of the Act. This, the emotional climax of the play, representing a quasi-judicial procedure, affords him abundant opportunity for fervid moralizing and speech-making, of which he takes advantage most typically. Massinger commonplaces are l. 29, _Made shipwreck of your faith_ (cf. C-G. 55 b, 235 a, 414 b); l. 56, _In the forbidden labyrinth of lust_ (cf. C-G. 298 b); l. 89, _Angels guard me!_ (cf. C-G. 59 b, 475 b); l. 118-9, _and yield myself Most miserably guilty_ (cf. C-G. 61 b, 66 b, 130 a; D. VI, 354); etc.; while within a year or so of the time when he wrote referring to “those famed matrons” (l. 70), he expatiated upon them in detail (see _The Virgin Martyr_, C-G. 33 a). Yet more specific parallels may be found: for l. 63 cf. C-G. 179 a; ll. 76-7, cf. C-G. 28 a; l. 78, cf. C-G. 32 b; ll. 162-3, cf. C-G. 3 b, in a passage wherein there is a certain similarity of situation; l. 177, cf. D. IX, 7. Were any further confirmation needed for Massinger’s authorship, the metrical tests would supply it, with their 36 per cent. double endings and 34 per cent. run-on lines.