And take 't | for a fa|vour too|. Are the rooms | made read|y To en|tertain | my friends|? I long | to dance | now.-- Trisyllabic feet occur in nine; final pauses in nine; stress-syllable openings and compensating anapaests in two; the feminine caesura (phrasal pause within the foot) in two. The pause in v. 15, after two strong monosyllables of which the first is stressed, produces a jolt, typically Fletcherian. Now, these peculiarities of versification are not a habit acquired by Fletcher after Beaumont ceased to write with him. They are rife not only in the plays of his middle and later periods, but in those of the earlier period while Beaumont was still at his side. As for instance in _Monsieur Thomas_, entirely Fletcher's of 1607, or at the latest 1611. The reader may be interested to verify for himself by scanning the following passage from Act IV, 2 at which I open at random: Launcelot is speaking: But to the silent streets we turn'd our furies: A sleeping watchman here we stole the shooes from, There made a noise, at which he wakes, and follows: The streets are durty, takes a Queen-hithe cold, Hard cheese, and that choaks him o' Munday next: Windows and signs we sent to Erebus; A crew of bawling curs we entertain'd last, When having let the pigs loose in out parishes, O, the brave cry we made as high as Algate! Down comes a Constable, and the Sow his Sister Most traiterously tramples upon Authority: There a whole stand of rug gowns rowted mainly, And the King's peace put to flight, a purblind pig here Runs me his head into the Admirable Lanthorn,-- Out goes the light and all turns to confusion. No one, once acquainted with this style of blank verse, with its end-stopped lines, double endings, stress-syllable openings, feminine caesurae, trisyllabic feet, jolts, and heavy extra syllables, can ever turn it to confusion with the verse of any poet before Browning--certainly not with that of Beaumont. Our materials for a study of Beaumont's individual characteristics in the composition of dramatic blank verse appear at the first sight to be very scanty; for the only example of which we have positive external evidence that it was written by Beaumont alone, is _The Maske of the Gentlemen of Grayes Inne and the Inner Temple_, and unfortunately some critics have excluded it from consideration because of its exceptionally formal and spectacular character and slight dramatic purpose. Written, however, at the beginning of 1613, when the author's metrical manner was a definitely confirmed habit, it affords, in my opinion, the best as well as the most natural approach to the investigation of Beaumont's versification. The following lines may be regarded as typical: