for, with the exception of three scenes, two half-scenes and a few insertions or revisions by Fletcher, _Philaster_ is Beaumont's (and practically the same holds true of _The Maides Tragedy_, and the Bessus play--_A King and No King_). In _Philaster_ Fletcher's scenes, as proved by rhetorical tests, and by metrical when they may be applied, are I, 1{^_b_} (from the King's entry, line 89--line 358,[231]--a revision and enlargement of Beaumont's original sketch), II, 2{^_b_} (from _Enter Megra_), II, 4{^_b_} (from _Megra above_), V, 3 and V, 4. The first part of Act II, 4 was written by Beaumont; but Fletcher has inserted lines 14 to 29 (from _Enter Arethusa and Bellario_ to "how brave she keeps him"). Similarly, the first draught of Act III, 2 was Beaumont's; certainly lines 1-34 (exit King), 105-112 (the opening of Philaster's long tirade) and 129-173 (from Philaster's exit to end). But beginning with Arethusa's soliloquy, line 35, we find insertions marked by Fletcher's metrical characteristics, his alliterations, favourite words and ideas, tautological expansions, repetitions, interrogations, triplets, redundant "alls" and "hows." The last three lines of that soliloquy are his: Soul-sick with poison, strike the monuments Where noble names lie sleeping, till they sweat And the cold marble melt;[232] and he has overlaid (in lines 113-128) with his rhetorical triplets, his "alls" and "hows" the genuine poetry of Philaster's accusation of Arethusa. "The _story_ of a woman's face," her inconstancy, the shadow quality even of her "goodness" soon past and forgotten,--"these sad texts"[233] Fletcher "to his last hour" is never weary of repeating.