Francis Beaumont: Dramatist

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Gayley Charles Mills. Francis Beaumont: Dramatist

PREFACE

PART ONE. BEAUMONT'S LIFE, HIS ACQUAINTANCES, AND HIS CAREER AS POET AND DRAMATIST

CHAPTER I. THE CASTOR AND POLLUX OF ELIZABETHAN DRAMA

CHAPTER II. BEAUMONT'S FAMILY; HIS EARLY YEARS: GRACE-DIEU, OXFORD

CHAPTER III. AT THE INNS OF COURT AND CHANCERY; THE POEMS ASSIGNED TO THESE EARLIER YEARS

CHAPTER IV. THE VAUX COUSINS AND THE GUNPOWDER PLOT

CHAPTER V. FLETCHER'S FAMILY, AND HIS YOUTH

CHAPTER VI. SOME EARLY PLAYS OF BEAUMONT AND OF FLETCHER

CHAPTER VII. THE "BANKE-SIDE" AND THE PERIOD OF THE PARTNERSHIP

CHAPTER VIII. RELATIONS WITH SHAKESPEARE, JONSON, AND OTHERS IN THE THEATRICAL WORLD

CHAPTER IX. THE "MASQUE OF THE INNER TEMPLE": THE PASTORALISTS, AND OTHER CONTEMPORARIES AT THE INNS OF COURT

CHAPTER X. AN INTERSECTING CIRCLE OF JOVIAL SORT

CHAPTER XI. BEAUMONT AND SIR PHILIP SIDNEY'S DAUGHTER; RELATIONS WITH OTHER PERSONS OF NOTE

CHAPTER XII. BEAUMONT'S MARRIAGE AND DEATH; THE SURVIVING FAMILY

CHAPTER XIII. THE PERSONALITY, AND THE CONTEMPORARY REPUTATION OF BEAUMONT

CHAPTER XIV. TRADITION, AND TRADITIONAL CRITICISM

CHAPTER XV. A FEW WORDS OF FLETCHER'S LATER YEARS

PART TWO. THE COLLABORATION OF BEAUMONT AND FLETCHER

CHAPTER XVI. STATEMENT OF THE PROBLEM; CRITICAL APPARATUS

CHAPTER XVII. THE DELIMITATION OF THE FIELD

CHAPTER XVIII. THE VERSIFICATION OF FLETCHER AND OF BEAUMONT

CHAPTER XIX. FLETCHER'S DICTION

CHAPTER XX. FLETCHER'S MENTAL HABIT

CHAPTER XXI. BEAUMONT'S DICTION

CHAPTER XXII. BEAUMONT'S MENTAL HABIT

CHAPTER XXIII. THE AUTHORSHIP OF THREE DISPUTED PLAYS

CHAPTER XXIV "THE WOMAN-HATER," AND "THE KNIGHT"

CHAPTER XXV. THE FIVE CENTRAL PLAYS

CHAPTER XXVI. THE LAST PLAY

CHAPTER XXVII. THE DRAMATIC ART, PRINCIPALLY OF BEAUMONT

CHAPTER XXVIII. DID THE BEAUMONT 'ROMANCE' INFLUENCE SHAKESPEARE?

CHAPTER XXIX. CONCLUSION

APPENDIX. GENEALOGICAL TABLES

TABLE A. PLANTAGENET, COMYN, BEAUMONT, AND VILLIERS

TABLE B. NEVIL, HASTINGS, BEAUMONT, TALBO

TABLE C. BEAUMONT. PIERREPOINT. CAVENDISH, TALBOT

TABLE D. BEAUMONT, VAUX, TRESHAM, CATESBY

TABLE E. FLETCHER, BAKER, SACKVILLE

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"Among those of our dramatists who either were contemporaries of Shakespeare or came after him, it would be impossible to name more than three to whom the predilection or the literary judgment of any period of our national life has attempted to assign an equal rank by his side. In the Argo of the Elizabethan drama – as it presents itself to the imagination of our own latter days – Shakespeare's is and must remain the commanding figure. Next to him sit the twin literary heroes, Beaumont and Fletcher, more or less vaguely supposed to be inseparable from one another in their works. The Herculean form of Jonson takes a somewhat disputed precedence among the other princes; the rest of these are, as a rule, but dimly distinguished." So, with just appreciation, our senior historian of the English drama, to-day, the scholarly Master of Peterhouse. Sir Adolphus Ward himself has, by availing of the inductive processes of the inventive and indefatigable Fleay and his successors in separative criticism, contributed not a little to a discrimination between the respective efforts of the "twin literary heroes" who sit next Jason; and who are "beyond dispute more attractive by the beauty of their creations than any and every one of Shakespeare's fellow-dramatists." But even he doubts whether "the most successful series of endeavours to distinguish Fletcher's hand from Beaumont's is likely to have the further result of enabling us to distinguish the mind of either from that of his friend." Just this endeavour to distinguish not only hand from hand, but mind from mind, is what I have had the temerity to attempt. And still not, by any means, a barefaced temerity, for my attempt at first was merely to fix anew the place of the joint-authors in the history of English comedy; and it has been but imperceptibly that the fascination of the younger of them, of Frank Beaumont, the personality of his mind as well as of his art, has so grown upon me as to compel me to set him before the world as he appears to me to be clearly visible.

In broad outline the figure of Beaumont has been, of course, manifest to the vision of poet-critics in the past. To none more palpably than to the latest of the melodious immortals of the Victorian strain. "If a distinction must be made," wrote Swinburne as early as 1875, "if a distinction must be made between the Dioscuri of English poetry, we must admit that Beaumont was the twin of heavenlier birth. Only as Pollux was on one side a demigod of diviner blood than Castor can it be said that on any side Beaumont was a poet of higher and purer genius than Fletcher; but so much must be allowed by all who have eyes and ears to discern in the fabric of their common work a distinction without a difference. Few things are stranger than the avowal of so great and exquisite a critic as Coleridge, that he could trace no faintest line of demarcation between the plays which we owe mainly to Beaumont and the plays which we owe solely to Fletcher. To others this line has always appeared in almost every case unmistakable. Were it as hard and broad as the line which marks off, for example, Shakespeare's part from Fletcher's in The Two Noble Kinsmen, the harmony would of course be lost which now informs every work of their common genius… In the plays which we know by evidence surer than the most trustworthy tradition to be the common work of Beaumont and Fletcher there is indeed no trace of such incongruous and incompatible admixture as leaves the greatest example of romantic tragedy … an unique instance of glorious imperfection, a hybrid of heavenly and other than heavenly breed, disproportioned and divine. But throughout these noblest of the works inscribed generally with the names of both dramatists we trace on every other page the touch of a surer hand, we hear at every turn the note of a deeper voice, than we can ever recognize in the work of Fletcher alone. Although the beloved friend of Jonson, and in the field of comedy his loving and studious disciple, yet in that tragic field where his freshest bays were gathered Beaumont was the worthiest and the closest follower of Shakespeare… The general style of his tragic or romantic verse is as simple and severe in its purity of note and regularity of outline as that of Fletcher's is by comparison lax, effusive, exuberant… In every one of the plays common to both, the real difficulty for a critic is not to trace the hand of Beaumont, but to detect the touch of Fletcher. Throughout the better part of every such play, and above all of their two masterpieces, Philaster and The Maid's Tragedy, it should be clear to the most sluggish or cursory of readers that he has not to do with the author of Valentinian [Fletcher] and The Double Marriage [Fletcher and Massinger]. In those admirable tragedies the style is looser, more fluid, more feminine… But in those tragic poems of which the dominant note is the note of Beaumont's genius a subtler chord of thought is sounded, a deeper key of emotion is touched, than ever was struck by Fletcher. The lighter genius is palpably subordinate to the stronger, and loyally submits itself to the impression of a loftier spirit. It is true that this distinction is never grave enough to produce a discord; it is also true that the plays in which the predominance of Beaumont's mind and style is generally perceptible make up altogether but a small section of the work that bears their names conjointly; but it is no less true that within this section the most precious part of that work is comprised."

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What follows of Elizabeth's devotion to the cause, would not be likely to filter through; but the Beaumonts may have had their suspicions. According to Father Gerard: —

In the tribulations of Anne Vaux, his own first cousin, Francis must have been even more deeply interested. That she was in communication with Fawkes had been discovered, November 5. She was apprehended, committed to the care of Sir John Swynerton, but temporarily discharged. When Fawkes confessed, November 9, that the conspirators had been using a house of Father Garnet's at White Webbs, in Enfield Chace, the house called "Dr. Hewick's" was searched. "No papers nor munition found, but Popish books and relics, – and many trap-doors and secret passages." Garnet had escaped but, on examination of the servants, it developed that under the pseudonym of "Meaze" he had taken the house "for his sister, Mrs. Perkins," – [and who should "Mrs. Perkins" turn out to be but Anne Vaux!] The books and relics are the property of "Mrs. Jennings," – [and who should she be but Anne's sister, Eleanor Brookesby!] "Mrs. Perkins spent a month at White Webbs lately;" and "three gentlemen [Catesby, Winter, and another] came to White Webbs, the day the King left Royston" [October 31]. On November 27, Sir Everard Digby's servant deposes concerning Garnet that "Mrs. Ann Vaux doth usually goe with him whithersoever he goethe." On January 19, as we have seen, warrants are out for the arrest of Garnet. On January 30, he is taken with another Jesuit priest, Father Oldcorne, at Hindlip Hall, in Worcestershire, where for seven days and nights they have been buried in a closet, and nourished by broths conveyed to them by means of a quill which passed "through a little hole in a chimney that backed another chimney into a gentlewoman's chamber." True enough, the deposition, that whithersoever her beloved Father Superior "goethe, Mrs. Ann Vaux doth usually goe"; for she is the gentlewoman of the broths and quill, – she with Mrs. Abington, the sister of Monteagle. Garnet and Oldcorne are taken prisoners to the Tower; and three weeks later Anne is in town again, communicating with Garnet by means of letters, ostensibly brief and patent, but eked out with tidings written in an invisible ink of orange-juice. On March 6, Garnet confesses that Mrs. Anne Vaux, alias Perkins, he, and Brookesby bear the expenses of White Webbs. On March 11, Anne being examined says that she keeps the place at her own expense; that Catesby, Winter, and Tresham have been to her house, but that she knew nothing of the Plot; on the contrary, suspecting some mischief at one time, she had "begged Garnet to prevent it." Examined again on March 24, she says that "Francis Tresham, her cousin, often visited her and Garnet at White Webbs, Erith, Wandsworth, etc., when Garnet would counsel him to be patient and quiet; and that they also visited Tresham at his house in Warwickshire." Garnet's trial took place at Guildhall on March 28, Sir Edward Coke of the Inner Temple acting for the prosecution. Garnet acknowledged that the Plot had been conveyed to him by another priest [Greenway] in confession. He was convicted, however, not for failing to divulge that knowledge, but for failing to dissuade Catesby and the rest, both before and after he had gained knowledge from Greenway. He was executed on May 3. Of Anne's share in all that has preceded, Beaumont would by this date have known. One wonders whether he or his brother, John, ever learned the pathetic details of the final correspondence between Anne and the Father Superior. How, March 21, she wrote to him asking directions for the disposal of herself, and concluding that life without him was "not life but deathe." How, April 2, he replied with advice for her future; and as to Oldcorne and himself, added that the former had "dreamt there were two tabernacles prepared for them." How, the next day, she wrote again asking fuller directions and wishing Father Oldcorne had "dreamt there was a third seat" for her. And how, that same day, with loving thought for all details of her proceedings, and with sorrow for his own weakness under examination, the Father Superior sends his last word to her, – that he will "die not as a victorious martyr, but as a penitent thief," – and bids her farewell.

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