The rest of these _Morall Representations_ display neither the verse nor the rhetoric of Fletcher. On the basis of verse-tests Boyle assigns them to Beaumont. Macaulay says, "probably,"--and adds the _Induction_. But Oliphant, taking into consideration also the rhetorical and dramatic qualities, gives the _Induction_ and _The Triumph of Honour_ to a third author, Nathaniel Field, and only _The Triumph of Love_ to Beaumont. As to the _Induction_ and _The Triumph of Honour_ I agree with Oliphant. They are full of polysyllabic Latinisms such as Field uses in his _Woman is a Weather-cocke_ (entered for publication November 23, 1611) and Beaumont never uses: 'to participate affairs,' 'torturous engine,' etc.; and they are marked by simpler Fieldian expressions 'wale,' 'gyv'd,' 'blown man,' 'miskill,' 'vane,' 'lubbers,' 'urned,' and a score of others not found anywhere in Beaumont's undoubted writings. A few words, like 'basilisk' and 'loathed' suggest Beaumont, as does the verse; but this may be explained by vogue or imitation. Field was two or three years younger than Beaumont, and had played as a boy actor in one or more of the early Beaumont and Fletcher productions. His _Woman is a Weather-cocke_ and his _Amends for Ladies_ indicate the influence of Beaumont in matters of comic invention, poetic hyperbole, burlesque and pathos, as well as in metrical style. The _Honour_ is a somewhat bombastic, puerile, magic-show written in manifest imitation of Beaumont's verse and rhetoric. As to _The Triumph of Love_, I go further than Oliphant. I assign at least half of it, viz., scenes 1, 2, and 6, on the basis of diction, to Field. In scenes 3, 4, and 5, I find some trace of Beaumont's favourite expressions, of his thoughts of destiny and death and woman's tenderness, his poetic spontaneity, his sensational dramatic surprises; but I think these are an echo. The rural scene lacks his exquisite simplicity; and some of the words are not of his vocabulary. One is sorry to strike from the list of Beaumont's creations the pathetic and almost impressive figure of Violante. If it was originally Beaumont's, it is of his earlier work revamped by Field; if it is Field's, it is an echo simulating the voice, but missing the reality, of Beaumont's Aspatia, Bellario, Urania. This criticism holds true of both the Triumphs, _Love_ and _Honour_.