As for Fletcher's share in the dramas written in partnership with Beaumont, little need be said by way of summary. He bulks large in the comedies of intrigue, _The Scornful Ladie_ and _The Coxcombe_; and especially in the sections of plot that are carnal, trivial, or unnatural. He is in them just what he is in his own _Monsieur Thomas_ and his pornographic _Captaine_--in the latter of which, if Beaumont had any share at all it is unconvincing to me, save possibly as regards the one appalling scene of which I have spoken some five chapters back. To the tragedies and "dramatic romances" or tragicomedies Fletcher did not contribute one-third as much as his co-worker. As in the murder-scene of _The Maides Tragedy_ he displays the dramaturgy of spectacular violence, so in the scene between Melantius and Evadne, the power of dramatic invective. But his aim is not the furtherance of interest by the dynamic unfolding of personality, or by the propulsion of plot through interplay of complicated motives or emotions, it is the immediate captivation of the spectator by rapidity and variety: by brisk, lucid, and witty dialogue, by bustle of action and multiplicity of conventional device, as in _Cupids Revenge_. Few of his scenes are vital; most are clever histrionic inlays, subsidiary to the main action, or complementary and explanatory, as in _Philaster_ and _A King and No King_. His characters move with all the ease of perfect mechanism; but they are made, not born. It follows that, in the more serious of the joint-dramas, the principal personages are much less indebted to his invention than has ordinarily been supposed. In the comedies of intrigue, on the other hand, conventional types of the stage or of the theatre-going London world, especially the fashionable and the Bohemian provinces thereof, owe their existence chiefly to him. Blackguards, wittols, colourless tricksters, roaring captains, gallants, debauchees, lechers, bawds, libidinous wives, sophisticated maidens who preen themselves with meticulous virtue but not with virtuous thoughts, all these people the scenes which Fletcher contributed to the joint-comedies. And some of them thrust their faces into the romantic plays and tragedies as well. Fletcher's most important contribution to the drama, his masterly and vital contribution, is to be found in his later work; and of that I have elsewhere treated,[255] and shall have yet a word to say here. Of the Beaumont-Fletcher plays the distinctive dramaturgy as well as the essential poetry are Beaumont's, and these are worthy of the praise bestowed by his youthful contemporary, John Earle: So new, so fresh, so nothing trod upon, And all so born within thyself, thine own. _The Maske_, _The Woman-Hater_, and _The Knight of the Burning Pestle_ should appear in a volume bearing Beaumont's name. And for the partnership of Beaumont and Fletcher, perhaps, some day,