Fleay, Boyle, Macaulay, and Ward, with but slight hesitation, pronounce _The Woman-Hater_ to be an independent production of Beaumont, written while he was under the influence of Ben Jonson; but as I shall presently show, Fletcher has revised a few scenes. Oliphant feels inclined to join the critics mentioned above, but cannot blind himself "to the presence of Fletcher in a couple of scenes." One of these is III, 1.[189] In the quartos this scene is divided into two. By the _ye_ test the first half-scene, running to _Enter Duke, Etc._, in which Oriana tempts Gondarino, would be Fletcher's (15 _ye's_ to 9 _you's_); but the percentage of double endings is too low, and that of run-on lines too high for him. I think that he is revising Beaumont's original sketch. The second half-scene and the rest of the act are, by the _ye_ test and all other criteria, Beaumont's. The metrical style of the act as a whole is Beaumont's; so also the enclitic 'do's' and 'did's,' the Beaumontesque 'basilisk,' 'dissemble,' the mock-heroic prayers, and mock-legal nicety of enumeration, the racy ironic prose, and the burlesque Shakespearian echoes--"That pleasing piece of frailty that we call woman," etc. The other passage doubtfully assigned to Fletcher, by Oliphant--forty lines following _Enter Ladies_ in V, 5 (Dyce)--more closely resembles his manner of verse, but is not markedly of his rhetorical stamp. But by the _ye_ test (24 _ye's_ to 39 _you's_) the whole of that scene, opening _Enter Arigo and Oriana_ is Fletcher's, or Fletcher's revision of Beaumont. So, also, by the _ye_ test is another scene not before ascribed to Fletcher, IV, 2 (27 _ye's_ to 25 _you's_), as far as _Enter Oriana and her Waiting-woman_. In this and the other _ye_ scenes, the _ye_ frequently occurs in the objective,--which is absolute Fletcher. The rest of this scene, constituting two in the quartos, is pure Beaumont.--The play is, so far as we can determine, Beaumont's earliest attempt at dramatic production. Fletcher touched it up, and his revision shows in the scenes mentioned above; that is to say, in about sixteen out of the seventy pages as printed in the _Cambridge English Classics_. The manifestly exaggerated torments of Gondarino "who will be a scourge to all females in his life," the amorous affectation of Oriana, the "stratagems and ambuscadoes" of the hungry courtier in his pursuit of "the chaste virgin-head" of a fish, the zealous stupidity of the intelligencers are, as we have already noted, of the humours school; and the work is that of a beginner. But the "humours" are flavoured with Beaumont's humanity; the mirth is his, genuine and rollicking. The satire is concrete; and the play as a whole, a promising precursor of the purple-flowered prickly pear, next to be considered,--also undoubtedly Beaumont's.