Page:A study of Shakespeare (IA cu31924013158393).pdf/105

 apart from all other points of evidence—the collaboration of Fletcher with Shakespeare in this instance. And if the proof by mere metrical similitude is thus imperfect, there is here assuredly no other kind of test which may help to fortify the argument by any suggestion of weight even comparable to this. In those passages which would seem most plausibly to indicate the probable partnership of Fletcher, the unity and sustained force of the style keep it generally above the average level of his; there is less admixture or intrusion of lyric or elegiac quality; there is more of temperance and proportion alike in declamation and in debate. And throughout the whole play, and under all the diversity of composite subject and conflicting interest which disturbs the unity of action, there is a singleness of spirit, a general unity or concord of inner tone, in marked contrast to the utter discord and discrepancy of the several sections of The Two Noble Kinsmen. We admit, then, that this play offers us in some not unimportant passages the single instance of a style not elsewhere precisely or altogether traceable in Shakespeare; that no exact parallel to it can be found among his other plays; and that if not the partial work it may certainly be taken as the