If Massinger can be accredited with Dorothea's farewell speech in IV., 3, 69-92, I do not see why he should not have written the famous passage in II., 1. They seem to me to have the same thrill of emotion.
Lastly, V., 1, seems to be constructed on the lines of a Massinger scene, and to contain traces of his vocabulary; cf. the use of “horror” in line 41, and of “to thy centre” in line 146. The conversion of Theophilus, like that of Antoninus in a previous scene, is effected rapidly, in Massinger's manner.
To sum up, I should be inclined to say that Massinger had, at any rate, a considerable share in the following scenes: II., 1, II., 2, II., 3, IV., 1, V., 1.
Appendix XI. The Authorship Of “The Fatal Dowry”
Boyle assigns to Massinger, Act I.; Act III. as far as line 315 (enter Novall, junr.); Act IV., 2, 3, 4; Act V. This amounts to about three-fifths of the play. On metrical grounds I reluctantly concede that Field wrote the famous funeral scene, Act II., 1. But there are clear traces of Massinger's style in the part of Act II., 2, which follows the prose [pg 201] passage. Thus, Romont's speech, beginning at line 201, seems to show traces of Massinger; likewise Pontalier's, beginning at line 370. It is probable that Field wrote the prose scenes in the play, and possibly the songs; nor would I deny that the regular ten-syllable blank verse of such passages as Act II., 2, 178-187 (Rochfort. Why, how now, Beaumelle? ... nothing but good and fit), and Act II., 2, 318-328 (This is my only child ... were multiplied tenfold), is Field's work. In the two plays which have come down to us from Field there is much passable blank verse. It is important to remember, however, that we have so little of Field left that it is hazardous to base material tests on it; and secondly, the authors may have collaborated in individual scenes in such a way as to escape analysis. This is what probably has taken place in Act II., 2. Nor do I feel certain that the latter part of Act III. is wholly due to Field; lines 438-478 contain much that is like Massinger, though the ugly line 464 is not in his style.
“I not accuse thy wife of act, but would
Prevent her precipice to thy dishonour.”
On the other hand, the rhymed couplet (lines 375-6) is probably Field's.
The pert page in Act IV., 1, reminds us of a similar character in Woman's a Weathercock, and is probably Field's handiwork. On the other hand, Pontalier's speech in the same scene (lines 119-140) reads to me like Massinger.