Another characteristic of Fletcher's diction is his preference for the pronoun _ye_ instead of _you_. This was pointed out by Mr. R. B. McKerrow, who in his edition of _The Spanish Curate_[174] notes that in the scenes generally attributed, in accordance with other tests, to Fletcher, _ye_ occurs 271 times, while in the scenes attributed to Massinger it occurs but four. That is to say, for every _ye_ in Fletcher's part there are but 0.65 _you's_; for every _ye_ in Massinger's part, 50 _you's_. Mr. W. W. Greg, applying the test in his edition of _The Elder Brother_,[175] and counting the _y'are's_ as instances of _ye_, finds that the percentage of _ye's_ to _you's_ in Fletcher's part is almost three times as high as in Massinger's. In a recent article in _The Nation_[176] Mr. Paul Elmer More communicates his independent observation of the same mannerism in Fletcher. Though he has been anticipated in part, his study adds to McKerrow's the valuable information that Fletcher uses the _ye_ for _you_ in "both numbers and cases, and in both serious and comic scenes." Mr. More's statistics favour the conclusion that the test distinguishes Fletcher not only from Massinger, but from other collaborators: Middleton, Rowley, Field, Jonson, Tourneur. They do not carry conviction regarding Shakespeare, whose habit as Greg and others had already announced varies in a perplexing manner. Nor does Mr. More arrive at any definite result concerning the test "when applied to the mixed work of Beaumont and Fletcher." For though the high percentage of _ye's_ in the third and fourth of the _Foure Playes_ confirms the general attribution of those 'Triumphs' to Fletcher, the low percentage in the first two 'Triumphs' does not justify "the common opinion which attributes them to Beaumont." Their author, as I have elsewhere stated, was probably Field. "In the plays which are units," continues Mr. More, "such as _The Maid's Tragedy_, _Philaster_, _A King and No King_, _The Knight of the Burning Pestle_, and _The Coxcomb_, this mark of Fletcher does not occur at all. It should seem that the writing here, at least in its final form, was almost entirely Beaumont's." I have gone through all the plays which have been ordinarily regarded as joint-productions of Beaumont and Fletcher, and find that in this surmise Mr. More is right. _The Knight_, to be sure, is Beaumont's alone; but with regard to the other four plays mentioned above, in which they undoubtedly cooperated, the suggestion that the writing, at least in its final form, was almost entirely Beaumont's, because of the practically complete absence of _ye's_, is justified by the facts. It is, also, helpful in the examination of plays not mentioned in this list. It has, in connection with other considerations, assisted me to the conclusion that Fletcher went over two or three scenes of _The Woman-Hater_, stamping them with his _ye's_ after Beaumont had finished it as a whole; and it has confirmed me in