Note the double endings, the end-stopped lines, the stress-syllable openings, the anapaests, the feminine caesurae (dotted), the two omissions of the light syllable after the caesural pause and the following accent at the beginning of the verse section, and the six feet of line 13. Of the non-Fletcherian part of _Philaster_, a typical example is the following from Act I, Scene 2, where Philaster replies to Arethusa's request that he look away from her: I can indure it: Turne away my face? I never yet saw enemy that lookt So dreadfully but that I thought my selfe As great a Basiliske as he; or spake So horrible but that I thought my tongue Bore thunder underneath, as much as his, Nor beast that I could turne from: shall I then Beginne to feare sweete sounds? a ladies voyce, Whom I doe love? Say, you would have my life; Why, I will give it you; for it is of me A thing so loath'd, and unto you that aske Of so poore use, that I shall make no price. If you intreate, I will unmov'dly heare. Or the famous description of Bellario, beginning: I have a boy, Sent by the gods, I hope to this intent, Not yet seen in the court-- from the same scene. Or the King's soliloquy in Act II, Scene 4, containing the lines: You gods, I see that who unrighteously Holds wealth or state from others shall be curst In that which meaner men are blest withall: Ages to come shall know no male of him Left to inherit, and his name shall be Blotted from earth. The reader will at once be impressed with the regularity of the masculine ending. Beaumont does not, of course, eschew the double ending; but, as Boyle has computed, the percentage in this play is but fifteen in the non-Fletcherian passages, whereas the percentage in Fletcher's contribution is thirty-five. The prevalence of run-on lines is also noteworthy; and the infrequency of the stress-syllable openings, anapaests, and feminine caesurae by which Fletcher achieves now conversational abruptness, now lyrical lilt. In _The Maides Tragedy_, such soliloquies as that of Aspatia in Act V, Scene 4, with its mixture of blank verse and rhyme: This is my fatal hour; heaven may forgive My rash attempt, that causelessly hath laid Griefs on me that will never let me rest, And put a Woman's heart into my brest. It is more honour for you that I die; For she that can endure the misery That I have on me, and be patient too, May live, and laugh at all that you can do-- are marked by characteristics utterly unlike those of Fletcher's dramatic verse. Also unlike Fletcher are the scenes which abound in lines of weak and light ending, and lines where the lighter syllables of every word must be counted to make full measure. Fletcher did not write: Alas, Amintor, thinkst thou I forbear To sleep with thee because I have put on A maidens strictness; or