Beaumont is capable in occasional passages, as, for instance, Arbaces' speech beginning Act I, 1, 105, of lines rippling with as many feminine caesurae. But, utterly unlike Fletcher, he employs in the first thirteen of those lines no double endings, no jolts, only two stress-syllable openings, only four anapaests, one omitted thesis after the caesural pause, four end-stopped lines. He is more frequently capable, as in the passage beginning l. 129, of a sequence without a single feminine caesura, but with several feminine (or double) endings: _Tigranes._ Is it the course of Iberia, to use their prisoners thus? Had Fortune throwne my name above Arbaces, I should not thus have talkt; for in Armenia We hold it base. You should have kept your temper, Till you saw home agen, where 't is the fashion Perhaps to brag. _Arbaces._ Bee you my witness, Earth, Need I to brag? Doth not this captive prince Speake me sufficiently, and all the acts That I have wrought upon his suffering land? Should I then boast? Where lies that foot of ground Within | his whole | realme | that | I have | not past Fighting and conquering?[156] Up to the twelfth verse with its exceptional jolting pause the caesurae are masculine, and fall uncompromisingly at the end of the second and third feet. In respect of the internal structure of the verse the tests for Beaumont are, then, as I have stated them above; in respect of double endings, Boyle and Oliphant have set the percentage in his verse at about twenty, and of run-on lines at thirty. Since the metrical characteristics of those parts of _Philaster_, _The Maides Tragedy_ and _A King and No King_ which do not bear the impress of Fletcher's versification, are well defined and practically uniform; since they are of a piece with the metrical manner of _The Woman-Hater_, which is originally, and in general, the work of one author--Beaumont; and since they are also of a piece with the versification of the _Maske_, which is certainly by Beaumont alone, and with that of his best poems,--at least one criterion has been established by means of which we may ascertain what other plays, ascribed to the two writers in common, but on less definite evidence, were written in partnership; and in these we may have a basis for determining the parts contributed by each of the authors.