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Contrary to critical beliefs that Beaumont and Fletcher's collaboration was seamless, and that Fletcher contributed most of the scenes involving music and masque, by closely reading both original music for the plays and the texts themselves, overlaid with Cyrus Hoy's linguistic attribution studies, it appears that whereas Beaumont and Fletcher indeed conform to the previous "saint/ sinner" dichotomy, they use music in equal quantity. More significantly, Beaumont's use of music is varied and sophisticated, frequently providing motives for action and moving plots forward in new directions, in contradistinction to Fletcher's, which typically reinforces content already present, often related to misogynistic violence.

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