9.--Though the tragedy of _Cupid's Revenge_ was printed in 1615 as the work of Fletcher alone, the publication was unauthorized, and the attribution is by a printer who acknowledges that he was not acquainted with the author. The quarto of 1630 assigns it correctly to Beaumont and Fletcher. The play is known to have been acted at Court by her Majesty's Children of Whitefriars, the first Sunday in January 1612; and as usual it must have been tested by public presentation before that date. The fact that the authors were, between 1610 and 1612, writing for the King's Men does not preclude their composing a play for the Queen's Children. It is not, therefore, necessary to date the writing earlier than 1611. Though the critics disagree concerning the precise division of authorship in nearly every scene, finding traces of alteration by Field, Massinger, and others, they discern a definite substratum of both Fletcher and Beaumont. It is unnecessary to specify the minor scenes in which Beaumont cooperated. The five which transfer the action from an atmosphere of supernatural caprice and sordid irresponsibility to the realm of character, moral struggle, pathos, or passion are by him.[243] In these his sententious sunbursts, his verse, diction, hyperbole, portrayal by passive implication, are indubitable. The infatuation of the princess for the dwarf takes on a human interest in the grim humility and cackling mirth of the latter. The lust of Leucippus is transfigured to nobility by his loyalty to oaths "bestowed on lies," by his horror of the discovered baseness of his paramour, and the piety with which he implores that she-devil to spare his father's honour: I desire you To lay what trains you will for my wish'd death, But suffer him to find his quiet grave In peace. The treacherous greed and malice of Bacha are tempered by half-lights and shifting hues that make her less a vampire when Beaumont depicts her. And the final scene of tragedy in the forest is shot with pathos by the "harmless innocence" of Beaumont's Urania following Leucippus to save him for love:-- I would not let you know till I was dying; For you could not love me, my mother was so naught. But the play as a whole lacks logical and natural motive, moral vigor and vitality; and its history upon the stage is negligible.