The most cursory reading of V, i is sufficient to establish the conviction that its author is not identical with that of the earlier comic passages--is not Field, but Massinger. The humor, such as it is, is of a graver, more restrained sort--satiric rather than burlesque; it has lost lightness and verve, and approaches to high-comedy and even to moralizing. One feels that the confession of the tailor-gallant is no mere fun-making devise, but a caustic attack upon social conditions against which the writer nurtured a grudge. Massingerian are such expressions as _And now I think on’t better_ (l. 77--cf. C-G. 57 b, 468 a, 615 a; D. XI, 28), and _use a conscience_ (l. 90--cf. C-G. 444 a, 453 a), while the metrical evidence of 36 per cent. double endings and 29 per cent. run-on lines fortifies a case concerning which all commentators are in agreement. But despite the unanimity of critical opinion hitherto, I am not sure that Field did not contribute a minor touch here and there to the Scene. Such contribution, if a fact, must have been small, for the Massinger flavor is unmistakable throughout; yet in the _Plague on’t!_ and the _’Slid!_, in the play upon words (ll. 13-4, 20-1, 44), which is rare with Massinger and common with Field, in the line, _I only know_ [_thee_] _now to hate thee deadly_: (cf. _Amends for Ladies_, M. 421: _I never more Will hear or see thee, but will hate thee deadly._), we may, perhaps, detect a hint of his hand. Scene ii (which in the Quarto ends with the reconciliation of Charalois and Romont, the entry of Du Croy, Charmi, etc. being marked as the beginning of a third Scene, though the place is unchanged and the action continuous, wherefore modern editors disregard the Quarto’s division and count Scene ii as including all the remainder of the Act) presents the usual distinctive earmarks of a Massinger passage. The last third of it, however (ll. 80-121), has, on account of the presence of several rhymes, been commonly assigned to Field. No doubt his hand is here discernable; l. 118, _mark’d me out the way how to defend it_, is scarcely a Massinger construction either; but I cannot think Field’s presence here more than that of a reviser, just as in the latter half of I, ii. The language remains more Massinger’s than Field’s; and while the passage is over-short for metrical tests to be decisive, the 39 per cent. of double endings and 35 per cent. of run-on lines which it yields (for the earlier part of the Scene the figures are respectively 28 per cent. and 35 per cent.) are corroborative of Massinger’s authorship. Cf. also ll. 96-8 with this from _The Renegado_ (C-G. 157 a): _This applause Confirm’d in your allowance, joys me more Than if a thousand full-cramm’d theatres Should clap their eager hands._