Other evidence, not hitherto noticed, still further confirms the conclusion that this was one of Beaumont and Fletcher's later joint-productions, perhaps the last of them. The conversational style is altogether more mature than in the remaining output of their partnership. It is the first work published under both of their names, and it was licensed for publication within two weeks after Beaumont's death, as one might expect of a play with which he was associated recently in the public mind. It is the only one of the joint-plays which he did not himself copy out, or thoroughly revise in manuscript, eliminating all or nearly all of Fletcher's distinctive _ye's_ and _y'are's_, and reducing to uniformity the nomenclature of the _dramatis personae_. Of this, later. There is also a sentence in Act III, 2, which points definitely to a date of composition, 1613 to 1615. The Captain speaking to Morecraft, the usurer, says, "I will stile thee noble, nay Don Diego, I'le woo thy Infanta for thee" (punctuation of the quarto). 'Diego' had, of course, been for years a generic nickname for Spaniards; but Morecraft is neither a Spaniard nor in any way associated with Spaniards. There had been a Don Diego of malodorous memory, who had offensively "perfumed" St. Paul's and on whose achievement the Elizabethans never wearied ringing the changes.[247] But that Don Diego was of the years before 1597 when there was, of course, no talk of wooing an Infanta; and the Captain here who comes to borrow money of the usurer had no intention of insulting him by likening him to the disgusting Spaniard of St. Paul's.