But that Shakespeare's _Cymbeline_ and his later romantic dramas betray any consciousness of the existence of _Philaster_ and its succeeding _King and No King_ has not been proved. Save for the more emphatic employment of the masque and its accessories of dress and scenic display, of the combination of idyllic, romantic, and sensational elements of material, and the heightened uncertainty of denouement, all naturally suggested by the demands of Jacobean taste, no variation is discoverable in the course of Shakespeare's dramatic art. And in these respects I find no extrinsic novelty, no momentous change--nothing in _Philaster_ and _A King and No King_ that had not been anticipated by Shakespeare. _Cymbeline_, _The Winter's Tale_, and _The Tempest_ are but the flowering of potentialities latent in the _Two Gentlemen of Verona_ and _As You Like It_, _Much Ado About Nothing_ and _Twelfth Night_, _All's Well That Ends Well_ and _Measure for Measure_--latent in the story of Apollonius of Tyre, and unavoidable in its dramatization as _Pericles_, a play that was certainly not influenced by the methods of _Philaster_. If in his later romantic dramas Shakespeare borrowed any hint of technique from the Beaumont contribution to the 'romances,' he was but borrowing back what Beaumont had borrowed from him or from sources with which Shakespeare was familiar when Beaumont was still playing nursery miracles of the Passion with his brothers in the Gethsemane garden at Grace-Dieu. Shakespeare's later comedies are a legitimate development of his peculiar dramatic art. Beaumont's tragicomedies, with all their poetic and idyllic beauty and dramatic individuality, are novel, so far as construction goes, only in their emphasized employment of the sensational properties and methods mentioned above. Their characteristic, when compared with that of Shakespeare's last group of comedies, is melodramatic rather than romantic. They set, in fine, as did Chapman's _Gentleman Usher_, and Shakespeare's _Measure for Measure_ and _All's Well that Ends Well_, an example which, abused, led to the decadence of Elizabethan romantic comedy.