In Evadne's "My whole life is so leprous it infects All my repentance"--"That slight contrition"--"Give me your griefs; you are an innocent, A soul as white as Heaven"--"Shoot your light into me"--"Dissembling with my tears"--"Cut from man's remembrance," we hear the words, phrases, and figures of Beaumont; and we trace him in the repeated use of "do." We find him in Amintor's "Seed of virtue left to shoot up"--"put a thousand sorrows off"--"that dull calamity"--"that strange misbelief"--and in Mock not _the powers above_ that can and dare Give thee a great example of their justice To all ensuing ages.[237] And in five verses of Evadne's succeeding asseveration of sincere reform (255-259), we are thrilled by his sudden magic and his poetic finality: _Those short days I shall number to my rest_ (As many must not see me) shall, though too late, Though in my evening, yet perceive a will,-- Since I can do no good, because a woman,-- _Reach constantly at something that is near it_. The ground-work of this latter portion, from Amintor's entrance, where Evadne cries "Oh, my lord," "My much abused lord," and he, "I may leap, Like a hand-wolf, into my natural wildness" (lines 190-200); and the last three speeches in general with Amintor's "My frozen soul melts," and "My honour falls no farther: I am well, then"; and with Evadne's "tales" that "go to dust forgotten,"--the Niobe weeping till she is water,--the "wash her stains away," and All the creatures Made for Heaven's honours, have their ends, _and good ones_,-- All but the cozening crocodiles, false women-- They reign here like those plagues, those killing sores, Men pray against; ... this remainder belongs, in verse no less than in diction, to the scene as Fletcher originally wrote it. When to these two scenes we add the first and third of Act V, which are of no particular significance, and the second (to the death of the King), we have Fletcher's whole written contribution to this wonderful tragedy. In the murder of the King he displays dramatic mastery of the grisly and shuddering; but though the scene is characterized by the same rapidity of conversational thrust and parry as the Fletcherian dialogue between Melantius and Evadne, it is, like it, marred in effect by violence physical rather than spiritual, by brutality of vituperation and stage realism with but scant relief of subtlety. Fletcher's tragic scenes excel not in portrayal of personality but in business; his contribution to Aspatia is not pathos but the embroidery of grief.