CHAPTER XXIX_Francis Beaumont: Dramatist A Portrait, with Some Account of His Circle, Elizabethan and Jacobean, And of His Association with John Fletcher

CONCLUSION

Beaumont's poetic virtues are his peculiar treasure; but the dramatic

method of his heroic-romantic plays lent itself lightly to imitation and

debasement. Not so much _The Maides Tragedy_ and _A King and No King_,

which respect the unities of interest and effect, as _Philaster_, _The

Coxcombe_, and _Cupid's Revenge_, to which Fletcher's contribution of

captivating theatrical 'business' and device was more considerable. Some

of these plays, and some of Shakespeare's, too, and of Marston's, and

Chapman's, and Webster's, paved the way for the heroic play of the

Restoration--a melodramatic development of tragicomedy and sentimental

tragedy, in which philandering sentiment, strained and histrionic

passion, took the place of romantic love and virile conflict,--a drama

in which an affected view of life tinged crisis and character alike, an

unreasoning devotion to royalty or some other chivalric ideal obscured

personal dignity and moral responsibility, and the thrill of surprise

dissipated the catharsis, proper to art, whether tragic or comic.

Upon the future of the comedy of intrigue and manners, Beaumont

exercised no distinctive influence. In plays like _The Coxcombe_ and

_The Scornful Ladie_, the genius of Fletcher dominated the scenes of

lighter dialogue and comic complication. And it is through comedies of

intrigue and manners written by Fletcher alone or in company with

others, especially Massinger, that Fletcher's individual genius

exercised most influence on the subsequent history of the drama. The

characteristics which won theatrical preeminence for his romantic

comedies, heroic tragicomedies and tragedies, written after the

cessation of Beaumont's activity, were a Fletcherian vivacity of

dialogue, a Fletcherian perfection of 'business,' and a Fletcherian

exaggeration of the tragicomic spirit and technique of which, in the

days of the Beaumont-Fletcher partnership, Beaumont had availed himself

but which he, still, by virtue of his critical faculty, had held

somewhat in restraint.

From the time of Prynne's _Histriomastix_, 1633, there have been critics

who have pointed to the gradual deterioration of the stage which,

beginning, say some, with plays of Shakespeare himself, continued

through Beaumont and Fletcher to the drama of the Restoration. Flecknoe,

Rymer, Coleridge, Lamb, Swinburne, Ward, have commented upon phases of

the phenomenon. And, recently, one of our most judicious contemporary

essayists has in a series of articles developed the theme.[258] I

heartily concur with the scholarly and well-languaged editor of _The

Nation_, in many of his conclusions concerning the general history of

this decline; and I have already in this book availed myself with profit

of some of his suggestions. I agree with him that the downfall of

tragedy began when "the theme was altered from a single master passion

to a number of loosely coordinated passions, thus relaxing the rigidity

of tragic structure and permitting the fancy to play more intimately

through all the emotions"; that this degeneration may be traced to the

time "when ecclesiastical authority was broken by scepticism and

knowledge, and the soul was left with all its riches of imagination and

emotion, but with the principle of individual responsibility discredited

and the fibre of self-government relaxed"; that "the consequences may be

seen in the Italy of the sixteenth century"; and that "the result is

that drama of the court which, besides its frequent actual indecency, is

at heart so often non-moral and in the higher artistic sense

incomprehensible." But when he ascribes this alteration of the theme of

tragedy from a single master passion to a number of "loosely coordinated

passions" to our "twin dramatists," and cites as his example _The Maides

Tragedy_ in which, as he sees it, we have "but a succession of womanly

passions, each indeed cunningly conceived and expressed, but giving us

in the end nothing we can grasp as a whole and comprehend";--and says

that Evadne is "no woman at all, unless mere random passionateness can

be accounted such," I shake my head in sad demurrer. First, because, as

I have tried to show above, Evadne is anything but an incomprehensible

embodiment of unmotived passions, and _The Maides Tragedy_ anything but

a "loosely coordinated" concern, and secondly, because I disfavour this

attribution of the decadence of tragedy, or of comedy, for that matter,

to our _twin_ dramatists. To substantiate such a charge it would be

incumbent upon the critic to prove not only that the decadence is

indubitably visible in the joint-work of Beaumont and Fletcher, but that

it is specifically visible in Beaumont's, as in Fletcher's, contribution

to that work, and also, that it was not already patent in the dramatic

productions of their seniors; that it was not patent in Heywood's

_Royall King and Loyall Subject_, for instance; in the "glaring colours"

of Chapman's _Bussy D'Ambois_, and in his _Gentleman Usher_ with its

artificial atmosphere of courtly romance, its melodramatic reverses and

surprises, its huddling up of poetic justice; in the sensational

devices, passionate unrealities and sepulchral action of Marston's

_Malcontent_, the sophistical theme and callous pornography of his

_Dutch Courtezan_, and in the inhuman imaginings of his _Insatiate

Countess_; that it was not patent in the heartless irresponsibility and

indecency of Middleton, and in the inartistic warping of tragic

situations to comic solutions that characterize his early romantic

plays; that it was not patent in the poisonous exhalations, the

wildering of sympathy, and the disproportioned art that characterize the

_White Devil_ of their immediate contemporary, John Webster.

The decadence was hastened by Fletcher; but not in any distinctive

degree by Beaumont. I second Mr. More's commendation of Prynne's

"philosophic criticism of 1632 that 'men in theatres are so far from

sinne-lamenting sorrow, that they even delight themselves with the

representations of those wickednesses,'" but I deplore the application

of that criticism to _Beaumont_ and Fletcher, as that "_they_ loosed the

bonds of conduct and left human nature as a mere bundle of

irresponsibilities."

Many of Fletcher's excesses and defects not only in the plays written

with Beaumont, but in plays written after his death, have been

conferred from the day of Flecknoe to the present upon Beaumont. There

is very little "sinne-lamenting sorrow" in the _Valentinian_ of

Fletcher, or of Fletcher and Massinger, and very little in Fletcher's

_Wife for a Month_; but in many of Beaumont's scenes in _The Maides

Tragedy_, and _A King and No King_, and _The Coxcombe_ the genuine

accents of "sinne-lamenting sorrow" are heard. Fletcher certainly

"loosed the bonds of conduct and left human nature as a mere bundle of

irresponsibilities," but not Beaumont. Let the reader turn to that

poet's scenes in the joint-plays (two-thirds of the great ones) as I

have indicated them, or to what I have unrolled of Beaumont's mental

habit, and judge for himself.[259]

The concession of the essayist from whom, as a representative of

enlightened modern opinion upon the subject, I have been quoting,--that

"as Fletcher's work stands, he may appear utterly devoid of conscience,

a man to whom our human destinies were mere toys," I hail with delight,

although I think that Fletcher the man had more honest ideals than

Fletcher the dramatist. But, as a critic, I resent the surmise that

Fletcher "was by nature of a manlier, sounder fibre than Beaumont." In

the heroic-romantic comedy, _The Humorous Lieutenant_, Fletcher

displays, indeed, as Mr. More says, "a strain almost like that of

Shakespeare, upon whom he manifestly modelled himself in everything

except Shakespeare's serious insight into human motives." But does that

play reveal anything of manlier, sounder fibre than Beaumont's _A King

and No King_?

Written in 1619 _The Humorous Lieutenant_ has enduring vitality, though

not because of its tragicomic presupposition; for the wars and rumours

of war are rhetorical or humorous, the devilish design of the King upon

the chastity of the heroine is predestined to failure,--and the

announcement of her death, but a dramatic device which may impose upon

the credulity of her noble lover but not upon the audience. In the MS.

of 1625 it is styled "a pleasant comedie"; and such it is, of 'humour'

and romantic love, upon a background of the heroic. It is Fletcher's

best comedy of the kind; one of the best of the later Shakespearian age.

The conception of the Lieutenant, whose humour is to fight when he is

plagued by loathsome disease and to wench when he is well, is not

original, nor is the character of the hero Demetrius; but in the

elaboration Fletcher has created these characters anew, has surrounded

them with half a dozen other figures no less life-like, and has set them

in a plot, cunningly welded of comic, sentimental, and martial elements,

and captivatingly original. Though the interest is partly in a wanton

intrigue, and the mirth grossly carnal even when not bawdy, I think that

the objectionable qualities are, for almost the only time in Fletcher's

career in comedy, not ineradicable. The wondrous charm, "matchless

spirit," vivacity, and constancy of Celia render the machinations of the

procuress, Leucippe, and her "office of concealments" futile,--so much

dramatic realism to be accentuated or mitigated at the will of the stage

manager;--and the alluring offers of the king are but so many weapons

for his own defeat. If the Lieutenant were not an indissoluble compound

of hero, swashbuckler, shirker, and "stinkard," I fear, indeed, that he

would lose his savour. But the love of Rabelaisian humour is, after all,

ingrained in the male of the species, and if the license be not

nauseating it is not necessarily damnable. This boisterous, pocky rascal

who "never had but two hours yet of happiness," and who courts the

battlefield to save him "from the surgeon's miseries," held the stage

from the time of Condel, Taylor, and Lowin, to that of Macready and

Liston, and there is no reason why his vitality should not be perennial.

There are few more laughable scenes in farcical literature than those in

which, having drained a philtre intended to make Celia dote upon the

King, the Lieutenant imagines himself to be a handsome wench of fifteen,

wooes the King most fatuously, even kisses the royal horses as they pass

by. The meeting and the parting, the trials and the reunion, of Celia

and Demetrius constitute the most convincing and attractive

romantic-pathetic love-affairs in Jacobean drama since Shakespeare had

ceased to write. Indeed, this "perilous crafty," spirited, "angel-eyed"

girl "too honest for them all" who so ingeniously and modestly shames

the lustful monarch and wins her affianced prince is not unworthy of

the master. Nor is Demetrius. The play contains many genuinely poetic

passages, and some of those lines of meteoric beauty--"our lives are but

our marches to the grave"--in which Beaumont abounded, and that Fletcher

too rarely coined. With all the rankness of its humour, the play has

such literary and dramatic excellence that one cannot but regret the

infrequency with which Fletcher produced that of which he was capable.

But even this best of Fletcher's heroic-dramatic plays contains, as Mr.

More has observed, "one of those sudden conversions which make us wonder

whether in his heart he felt any difference between a satyr-like lust

and a chaste love--the conversion of the lecherous old king." I grant

Fletcher's surpassing excellence in comedy, especially the comedy of

manners and intrigue as, for instance, _The Chances_ and the _Rule a

Wife and Have a Wife_, and I have elsewhere acknowledged his supremacy

after Shakespeare in that realm. But we are now considering not that

kind of composition or its technique, but the fibre which might be

expected to show itself in compositions involving the element of

seriousness. _The Humorous Lieutenant_ is of that kind,--it is called a

tragicomedy by some. Has it one tithe of the serious insight into human

life of any of Beaumont's plays involving ethical conflict?

Inquiring further into the fibre of Fletcher, let us pass in brief

review another play, a genuine tragicomedy this time, _A Wife for a

Month_, written the year before he died, of whose heroine Mr. More says

that "from every point of view, ethical and artistic, she is one of the

most finely drawn and truest women in the whole range of English drama."

The complication, here, assuredly affords opportunity for the display of

sound and manly fibre; and the tragicomedy is instructive in more ways

than one: it illustrates Fletcher's skill in construction and his

disregard of probability; his sense of moral conflict and his

insensibility to moral beauty; his power to conceive characteristic

situations and his impotence to construct natural characters; his

capability of noble sentiment and poetic expression and his beastly

perverseness of fancy, his prostitution of art to sordid sensationalism.

The story of the cumulative torments to which a lustful usurper subjects

the maiden, Evanthe, whom he desires, and Valerio whom she loves, is

graphically estimated by one of the _dramatis personae_,--"This tyranny

could never be invented But in the school of Hell: earth is too

innocent." Beside it Zola's _L'Assommoir_ smells sweet, and a nightmare

lacks nothing of probability. Ugly, however, as the fundamental

assumption is: namely, that the tyrant should permit a wedding on

condition that at the end of a month the husband shall suffer

death,--and with provision that meanwhile the honeymoon shall be

surrounded with restriction more intolerable than death itself; and

incredible as is the contrivance of the sequel,--kept a-going by the

suppression of instinct and commonsense on the part of the hero, and

withheld from its proper tragic conclusion by miraculous cure, an

impossible conversion, and an unnatural clemency,--the plot is after all

deftly knit, and the interest sustained with baleful fascination. But it

would be difficult to instance in Jacobean drama a more incongruous

juxtaposition of complication morally conceived, and execution callously

vulgarized, than that offered by the scene between Valerio and Evanthe

on their wedding-night. In the corresponding scene of _The Maides

Tragedy_ (II, 1), Beaumont had created a model: Amintor bears himself

with dignity toward his shameless and contemptuous bride. But in

Fletcher's play it is this "most finely drawn and truest woman" that

makes the advances; and she makes them not only without dignity, but

with an unmaidenly persistence and persuasiveness of which any abandoned

'baggage' or Russian actress of to-day might be ashamed. And, still, the

dramatist is never weary of assuring us that she is the soul of "honour

mingled with noble chastity," and clad in "all the graces" that Nature

can give. In the various other trying situations in which Evanthe is

placed it is requisite to our conviction of reality that she be the

"virtuous bud of beauty": but the tongue of this "bud" blossoms into

billingsgate, she swears "something awful," and she displays an

acquaintance with sexual pathology that would delight the heart even of

the most rabid twentieth-century advocate of sex-hygiene for boys and

girls in coeducational public schools.

Two or three of the characters are nobly conceived and, on occasion,

contrive to utter themselves with nobility. Valerio achieves a poetry

infrequent in Fletcher's plays when he says of the shortness of his

prospective joys:

"A Paradise, as thou art, my Evanthe,

Is only made to wonder at a little,

Enough for human eyes, and then to wander from,"--

and when he describes the graces of spiritual love. And the Queen's

thoughts upon death, though melodramatic, have something of the dignity

of Beaumont's style. But the minds of the principal personages reflect

not only the flashing current but the turbid estuaries of Fletcher's

thought. The passion, save for Valerio's, is lurid, and the humour

latrinal. To sketch the bestial even in narrative, however fleeting, is

inartistic; to fix it on canvas is offensive; to posture it upon the

stage is unpardonable. The last is practically what Fletcher has done

here; and the wonder is that he appears to think that he is justifying

virtue.

No; Fletcher had not the fibre of Beaumont even when he was writing with

him; and he did not achieve "a manlier, sounder fibre," after Beaumont

had ceased, and he had swung into the brilliant orbit which he rounded

as sole luminary of the stage.

I object again,--and the reader who has followed the exposition of the

preceding pages will, I hope, object with me,--to the dictum of a German

writer of this latter day, that the reason of the degeneracy of

_Beaumont_ and Fletcher, ethically, "seems to lie in the narrowing of

the drama from a national interest to the flattery of a courtly caste."

Mr. More opines that such an explanation should not be pressed too far;

and he suggests that one reason why "we are unable to comprehend many of

the persons upon the stage of Beaumont and Fletcher" is that we are

similarly unable to comprehend "the more typical men and women who were

playing the actual drama of the age." So far as Fletcher's _dramatis

personae_ are concerned, there is truth in this; but why couple Beaumont

with him? If you omit a character or two in _The Woman-Hater_, which was

a youthful _jeu d'esprit_, you shall find very few incomprehensible

figures among those of Beaumont's creation. And as to the German

mentioned above, Dr. Aronstein, what "flattery of a courtly caste" can

he possibly detect in Beaumont's satire upon favourites in _The

Woman-Hater_; in that burlesque of bourgeois affectations, _The Knight

of the Burning Pestle_ (the Court, too, was still reading the literature

there satirized); or in his Philaster, who was a rebel; or in his

Amintor of _The Maides Tragedy_, whose fate hinged upon his shuffling

subservience to a king, or in the King himself on whom God sends

"unlookt-for sudden death," because of his lust; or in his King Arbaces,

whose general has "not patience to looke on whilst you runne these

forbidden courses"; or in his scenes of _Cupid's Revenge_, which scourge

the vices of the Court; or in his Sir Roger and Mistress Abigail and her

scornful Lady,--or in his Ricardo and Viola, who are just a lover and

his lass, and have never dreamed of Court or King at all?

I wonder whether it may not be possible for us henceforth to give to

Fletcher, and the whole Fletcherian syndicate,--the Massingers,

Fields, Middletons and Rowleys, Dabornes, and the rest,--the praise

and the blame for what they produced, but eliminate Beaumont from the

award. One grows weary of the attribution to him of moral

irresponsibilities and extravagances in art of which he was, in all

that we have learned of his breeding, life, and mental habit the

implicit opponent--very much like his brother Sir John,--and of the

opposite of which he was in his poetic and dramatic output, as I have

minutely demonstrated, the professed exponent. In the broad daylight

of philological science and modern historical criticism we should no

longer regard Beaumont-and-Fletcher as an indivisible pair of Siamese

twins, constructing with all four hands at once the fabric of

fifty-three plays, or even of ten, and tongue-and-grooving the boards

with such diabolic deftness that each artisan shall for ever be

credited with the merits and defects of both. It is, at any rate, time

that the world of scholars,--and then the world of readers may

follow,--render unto Caesar the things that are Caesar's.

As for Caesar, we concede to him, John Fletcher, once for all, as he may

be read in his independent work, by one even running, artistic virtues

numerous and brilliant:[260] gaiety, wit, sprightly dialogue; mastery of

stage-craft,--of all the devices of captivating plot and rattling

'business,' and all the conventions and theatrically legitimate

clap-trap of dramatic types and humours, hallowed by success, adored by

the actor, and darling to the public. We concede skill in the weaving of

romantic complications, captivatingly cunning, and in the construction

of situations irresistibly ludicrous; remarkable inventiveness of

sensational adventure and spectacular scene and attractive setting;

realism at every turn, and an ability to portray manners, varied and

minute. Above all, we admire, and thankfully rejoice in, his smoothness

of mechanism, his lightness of touch, his contrivance and manipulation

of pure comedy--whether of manners or intrigue,--and in his world of

characters, not only laughter-compelling, but endowed with humour

themselves and sworn to the enthronement of the Spirit of Mirth.

On the other hand we read on every page of Fletcher's independent

contribution to English drama what, perhaps, was not the man himself,

but his dramaturgic pose--still for the world the essence of the

Fletcher who ruled it from the stage:[261] we read his "shallowness of

moral nature," his acquiescence in the ethical apathy and cynicism of

the time; his indelicacy; his indifference to, if not irreverence for,

the dramatic proprieties,--his subservience to popular taste and favour

in an age when "the theatre had ceased to be the expression of

patriotism and of the national life and had become the amusement of the

idle gentleman and of such members of the lower classes as were not kept

away by the Puritan disapproval of the stage." We witness with amusement

but with self-reproach his presentation of characters superficial, and

superficially refracting the evanescent vanities and heartless vices of

Jacobean London, as if representative of actual and general life; his

play of emotions feigned or sentimental; his violent contrasts,

unnatural conversions, impossible revolutions of fortune; we discern the

absence of subtle intuition, the failure to effect profound and lasting

impression, the "lack of seriousness and of spiritual poise." We note,

in the heroic-romantic dramas, improbability and extravagance; and, in

the tragedies, such as _Valentinian_, a total disregard of the unity of

interest,--just that muddling of motives of which the editor of _The

Nation_ has written,--and therefore the failure to realize unity of

effect. There has been no moral sequence: the suspense has been

distracted by the variety of emotions stirred. After the hours of strain

to which the spectator has imaginatively subjected himself, the

relief--what Aristotle calls the catharsis--is not forthcoming: because

the intellect has not been clarified but fuddled; the will has not been

braced; the feelings appropriate to tragedy--of pity and of fear--have

not enjoyed an unthwarted, undiverted outflow. The faculties have been

tantalized by manifold, deceptive, agonies of thirst. They should have

been centred in one yearning, conducted to one clear spring of

medicament, and purged by waters of truth, justice, and sympathy. From

Fletcher's _Valentinian_ and _Bonduca_ despite the poetry and the onrush

of the dramatic action there proceeds no calm, "all passion spent"; no

beauty that is peace. And of the tragicomedies, _The Loyall Subject_ and

_A Wife for a Month_, this verdict may be even more readily pronounced.

Such are the excellences and defects of Fletcher. Let us give him all

the glory of the former: but stay from burdening Beaumont, who had

faults of his own, with responsibility for the latter,--with the

unmorality or immorality or extravagant artistry of Fletcher when not

associated with Beaumont. With the vices and virtues of Fletcher's

rocket, bursting in stellar polychrome, Beaumont had nothing to do. To

him justice can be accorded only if he, after these three centuries, be

considered alone,--not for ever coupled with Fletcher, but spoken and

thought of, and known, as dramatist, poet, man of far sounder fibre, and

more virile marrow,--of superior insight, imagination, and art.

Next to Shakespeare, the most essentially poetic dramatist of the early

Jacobean period was Francis Beaumont. He had not the learning of Jonson,

nor the long career, nor the dictatorial position; nor did he attempt to

rival him in comedy, or criticism. But his great poem, _The Maides

Tragedy_ is a thousand times more enthralling and poetic than _Sejanus_

or _Catiline_. Shakespeare always excepted, the only author of tragedy

in that day whose intuitions and lines of astounding splendour at all

compete with, sometimes surpass, Beaumont's is Webster; but the

fascination of his _Duchess of Malfy_ is lurid, miasmatic, stupefying;

that of _The Maides Tragedy_, breathless and heart-breaking.

In the drama of mingled motive, Jonson produced but one masterpiece that

in poetry, valiancy of design, and portrayal of the ridiculous, equals

Beaumont's _A King and No King_,--the _Volpone_; but that is not

tragicomedy, and it drips venom. All that stands between _A King and No

King_ and artistic perfection is the denouement. If the lovers had died,

their struggle against temptation still continuing, their passion

unfulfilled,--if in the moment of death, they had discovered that their

union were no incest after all, Beaumont would have left behind him

another consummate tragedy. As it is, to find a parallel in Jacobean

literature, outside of Shakespeare, one must turn to Ford's _'Tis a

Pity, She's a Whore_. There again with poetic effulgence the problem of

incest is dramatized; but how half-hearted the struggle, insincere the

moral,--the poetry, purple and unconvincing!

In romantic comedy, between 1603 and 1625, others have produced plays

which from the dramatic point of view equal _Philaster_,--Dekker,

Heywood, Marston, Chapman, Middleton, and Rowley. Not all even of

Shakespeare's romantic comedies come up to _Philaster_ in literary or

dramatic excellence; but only Shakespeare has written what surpasses it.

In the comedy that delineates humours, _The Woman-Hater_, as regards

both poetry and technique, falls below several plays of Dekker, Chapman,

Marston, Middleton, and Jonson, and below the earlier efforts of

Shakespeare; but in characterization it is as good as some of

Shakespeare's. There is no comic figure in _Love's Labour's Lost_, the

_Two Gentlemen of Verona_, or the _Comedy of Errors_, that surpasses

Beaumont's Hungry Courtier; and the humorous dialogue and the prose as a

whole of _The Woman-Hater_ are more natural, and more intelligible to

the modern ear. With Shakespeare's later comedies that in any degree

avail themselves of the 'humours' element, or with Jonson's masterpieces

in this kind, _The Woman-Hater_, of course, can not be placed in

comparison. But if for the nonce, we consider Beaumont's _Knight of the

Burning Pestle_, merely in its 'humours' aspect, we must acknowledge

that its characters are as clear-cut, as typical of the time and as

provocative of laughter as those of _Every Man in his Humour_, which for

all its historic significance most people nowadays read, or might read,

with a yawn; and that it is less artificial in construction, more human

in motive and character, more modern in mirth than _The Silent

Woman_,--even though the object of its ridicule be now _caviare_ to the

general.

To set Beaumont's burlesque as a comedy of manners beside any of

Shakespeare's comedies from 1594 down, would be futile, but of the early

Shakespearian plays mentioned above none shakes more with fun than _The

Knight of the Burning Pestle_, and not one gives us the flavour of

London,--its citizens, their affectations and ideals, their reading,

habits and life,--or of England, that the _Knight_ affords in every

scene. If Shakespeare instead of writing, say, the _Comedy of Errors_

had written _The Knight of the Burning Pestle_, scholars would now be

flooding us with _Variorum_ editions of it, women's literary clubs would

be likening him with fervour to Cervantes, and the public might be so

well educated to its allusions and ideas that our Hebrew emperors of the

theatrical world and arbiters of dramatic vogue would be "starring" it

through the country to the delight of audiences that wisely make a show

of understanding and enjoying everything that Shakespeare wrote. To what

unrealized extent the fate of plays hangs upon the tradition of the

green-room, the actor's whim, the manager's enterprise or ignorance,

and luck, is material for an essay in itself. I am not asserting that

_The Knight of the Burning Pestle_ pretends to poetry, as do all of

Shakespeare's plays; but that for chuckling and side-long mirth, and for

manners and insight into the life of a rarely interesting period, it is

fine comedy, while as burlesque it is equalled by few of the kind in our

language and excelled by none.

It may be true that burlesques lose their flavour with the passing of

their victims. But that does not hold true of the drama of problems

perennially recurring and of emotions common to men of every age and

clime. Of such drama are _The Maides Tragedy_ and _A King and No King_.

They are not antiquated. And I doubt whether they are stronger meat than

some of Shakespeare's plays, all of which are more or less 'arranged'

before they are placed upon the modern stage. As to strong meat, the

difference between the Elizabethan taste and the present Georgian is

more a matter of variety than of flavour. Our forefathers liked their

venison in gobbets, for three hours at a stretch, and washed it down

with a tun or two of sack. The theatre-going public to-day likes its

game just as high, but it varies the meal with other dishes as highly

seasoned,--and washes it down with a foreign-labeled little bottle of

champagne. Our ancestors called a depraved woman by a brief bad name,

and put it into poetry. We denominate her, if at all, by some

euphemistic circumlocution, in prose; but we none the less throng the

theatre to see Dalilah play, and we follow with apparent gusto her

sinuous enticements upon the stage. We rejoice in problem-plays more

erotic, and far more subtly perilous, than those which Shakespeare and

Beaumont beheld. We are of an age of uplift, and meticulous reform. We

would eliminate fornication and adultery; but not from our plays. They

teem with--suggestion. There is nothing neurotic, nothing insidious in

_The Maides Tragedy_ and _A King and No King_. The grave of sin is wide

open; and the spade that digged it stands in plain view, and is called a

spade. On the whole I had rather have the Anglo-Saxon bluntness and

gleaming poetry of the Beaumont than the whitewashed epigram and

miching-mallecho of the twentieth-century play I saw last night. There

is no reason why, properly cut and staged, Beaumont's greatest plays

should not yield delight to-day. And as for the reader why should he not

turn back to "the inexhaustible treasures" of entertainment offered by

these plays. "They were," as says Mr. Paul Elmer More, "they were to the

Elizabethan age what the novel is to ours, and I wonder how many readers

three centuries from now will go back to our fiction for amusement as we

to-day can go back to Beaumont and Fletcher."

I began this book by quoting from an historian of the drama of marked

repute: "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." And also from the last great poet of

the Victorian age: "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." If I have succeeded in showing that

in the fabric of their common work the distinction between Beaumont and

Fletcher is measured by a wide and clearly visible difference, I shall

be happy. Others, to whom I have repeatedly expressed my indebtedness

even when disagreeing with particulars of their criticism, have cleared

the way. If in this book anything has been added to their services that

may help the world to distinguish these two dramatists not only hand

from hand but mind from mind, and to see Beaumont plain, as I see him in

the long gallery of his contemporaries, I shall be happier still; but

most amply rewarded if, for the future, it may be fittingly recognized

not only that Beaumont was the twin of heavenlier birth--the Pollux, but

why he was. Then, perhaps, the world of sagacious readers may turn from

talking always of Beaumont-and-Fletcher, and protest occasionally and

with well-informed reason in the name of Francis Beaumont alone.

FOOTNOTES:

[258] Mr. Paul Elmer More, _The Nation_, N. Y., Nov. 14, 1912, April

24, 1913, May 1, 1913.

[259] Chapters XXII and XXV, above.

[260] They are well presented by Miss Hatcher in her _John Fletcher_;

and they are again discussed in my forthcoming third volume of

_Representative English Comedies_.

[261] See again Miss Hatcher's work, and G. C. Macaulay, _Francis

Beaumont, A Critical Study_, especially pp. 186-188; and my essay on

_The Fellows and Followers of Shakespeare_ (Part Two) in the volume

mentioned above.

APPENDIX

GENEALOGICAL TABLES

TABLE A.

PLANTAGENET, COMYN, BEAUMONT, AND VILLIERS.

The

Earls of Buchan

Henry III Agnes, heiress de |

of England, Beaumont in Maine, |

b. 1207; d. 1272 m. Louis de Brienne Alexander

| | Comyn

| Henry, 1 Baron de |

Henry, Beaumont, == Alice Comyn

Earl of Lancaster fl. 1309; d. 1341

| |

Alianor == John, 2 Baron de

Beaumont,

d. 1343

Henry, 3 Baron de

Beaumont,

fl. 1363; d. 1370

John, 4 Baron de

Beaumont,

fl. 1384; d. 1397

Thomas, |

Ld. Bardolph +------+--------------+

| | |

| Henry, 5 Baron de Sir Thomas

Joan, Beaumont, Beaumont,

m. Sir Wm. Philip d. 1422 m. (1427) Philippe

| | Maureward

| | of Coleorton

| | |

Elizabeth == John, 6 Baron, |

and 1 Viscount |

Beaumont, |

d. 1460 |

| +-----------+--------------+

| | Sir John |

| John Villiers, Son

| Beaumont, d. 1506 (Henry Beaumont,

+--------------------+ d. 1460 | d. Towton, 1461?)

| | | | |

| | | William Son

| | | Villiers, (John, fl. 1485?)

William, Joan, | d. 1558. |

2 Visc. and m. John, | | John Beaumont

Lord Bardolph, Lord Lovel | | of Grace-Dieu,

d. 1511, s. p. | | | fl. 1529-1554; m.

| | | =Elizabeth=

+----------------+ | | =Hastings=

| | | | |

Francis, Joan, | | |

Viscount m. Sir Bryan | | Francis, d. 1598

Lovel, d. Stapleton | | |

1487 : | | +---+---+----+

: | | | | | |

Present Barons | | Henry | | Elizabeth

de Beaumont | | | |

| | John |

| | |

+-----------------------------+ | =Francis=

| | | =Beaumont=

Richard B. George B. | 1584-1616

d. 1539 | |

| William |

Nicholas | |

Beaumont Anthony |

| of Glenfield |

+---------------+ | |

| | | |

Sir Henry, Sir Thomas, | |

d. 1607 of Stoughton, | |

| d. 1614 Maria, m. |

Sir. Thomas, : Sir Gen. Villiers

1622, : |

1 Viscount Present |

Beaumont, Baronets George,

of Swords of Coleorton Duke of

Hall =Buckingham=

1592-1628

TABLE B

NEVIL, HASTINGS, BEAUMONT, TALBOT

Richard Nevil,

Earl of Salisbury

+------------+-------+

| |

Richard, =Catherine Nevil= == Sir. William,

Earl of Warwick 1 Baron Hastings,

| executed 1483

+--+-------------+ |

| | |

Isabel, Anne, |

m. Geo. Duke m. Richard III |

of Clarence, +--------------------------+-+-----------+

bro. of Edw. IV | | |

| Edward, Sir William, Anne, m.

Margaret, 2 Baron Hastings Hastings =Geo. Talbot=,

Countess of d. 1507 fl. 1490 4 Earl of

Salisbury, | | Shrewsbury

m. Richard de +---------------+ | |

la Pole | | | Anne, m.

| =George=, Anne, m. Thos. | =Geo. Talbot=,

| 1 Earl of Stanley, | 4 Earl of

| Huntingdon, 2 Earl Derby | Shrewsbury

| c. 1488-1544, | |

| m. Anne, | Francis,

Henry de dau. of Henry | 5 Earl of

la Pole Stafford, | Shrewsbury

| 2 Duke of Buckingham | |

| | | George,

Katherine Pole == Francis, 2 Earl | 6 Earl of

of Huntingdon, | Shrewsbury

1514-1560 | d. 1590

| | |

+-------------+----+----------+---------+ | Gilbert,

Henry, 3 Earl George, Walter, m. Lady | Shrewsbury,

of Huntingdon 4 Earl, Joyce Roper Mary | m. Mary

1539-1595 d. 1604 (aunt of Mrs. Hastings | Cavendish,

| Elizab. Vaux) | sister-in-law

| | | of Anne

| Sir Henry Hastings | Pierrepoint

| m. Elizab. dau. of Thos. | Beaumont

Francis 1 Visc. Beaumont | |

Hastings, of Swords | +----+--+---+

d. 1595 | | | | |

+----------+-------+-------------+ | | | |

Henry, 5 Earl, Catherine, Edward, | | |

1586-1643, m. m. Philip Captain | Mary, |

Elizab. dau. of Stanhope, under Sir | |

Ferdinando Stanley, Earl of Walter | Alethea

Earl of Derby Chesterfield Raleigh, |

1617 |

=Elizabeth Hastings=,

m. c. 1540

=John Beaumont=,

of Grace-Dieu,

(Master of the Rolls,

1551, d. 1554)

+----------------+-----------+

| | |

Francis, Henry, Elizabeth,

c. 1541-1598 d. s. p. m. William

the justice 3 Ld. Vaux

m. =Anne Pierrepoint= of Harrowden

| |

| +------------+-----+--------+

| | | |

| Henry Vaux, Eleanor Anne Vaux

| d. c. 1590 Brookesby (_alias_

| (_alias_ Mrs. Perkins)

| Mrs. Jennings) fl. 1605

+----------+---+----------------------+-----------------+

| | | |

Sir Henry, Sir John, =Francis=, Elizabeth, m.

d. 1605 1583-1627 1584-1616, m. Thomas Seyliard,

| Ursula Isley of Kent

| |

+-----------+---------+ +---+-----+

| | | | |

Sir John, Francis Sir Thomas Elizabeth Frances

d. 1644 (a Jesuit)

TABLE C.

BEAUMONT. PIERREPOINT. CAVENDISH, TALBOT.

Sir William Cavendish,

Sir George m. 1541, Elizabeth Hardwick

Pierrepoint, (afterwards wife of George Talbot,

d. 1564 6 Earl of Shrewsbury)

| |

+------+-------+ +------+------+----+----+----+

| | | | | | | |

b. c. 1550; 1546-1615 | =Cavendish= | | | | |

Thorold of Marston; Robert Elizabeth, | | | |

m. (2) =Francis= Pierrepoint, m. Charles | | | |

=Beaumont=, 1584-1643, Stuart, | | | |

the Justice, 1 Earl of Earl of | | | |

d. 1598 Kingston, Lenox, bro. | | | |

+----+----+-----+ g-dau. of Geo. Darnley | | | |

b. 1581 | | | | Lady =Arabella= | | | |

b. 1583 | | | James I. | | | |

b. 1584 | | Talbot, dau | | |

Elizabeth | Earl of | | |

b. 1588 | Shrewsbury | | |

| | | |

+----------------------+ William, | |

| | 1 Earl of | |

Henry Pierepoint, William Pierrepoint Devonshire, | |

1606-1680 1607-1678 in 1611 | |

2 Earl of Kingston, | | | |

1 Marq. Dorchester | William, | |

Robert, 3 Earl of Kingston; 1588-1679, | |

m. Elizab., dau. of Sir 2 Earl of | |

John Evelyn Devonshire; | |

| m. Christiana | |

+-----------------------+ Bruce of | |

| | Kinloss; | |

William, 4 Earl of Evelyn, 5 Earl of Ancestor | |

Kingston Kingston, 1690 of the present | |

Marq. Dorchester; Dukes of | |

Duke of Kingston, 1715 Devonshire | |

| | |

+---------------------+------+ Charles, |

| | of Welbeck, |

Mary (Lady Mary Wortley William, d. 1617 |

Montagu) 1689-1762 Viscount Newark | |

| Sir Wm. |

Frances, Cavendish, |

m. Philip Meadows 1592-1676. In |

| 1665, 1 Duke |

Charles, of Newcastle |

1 Earl Manvers, |

of Holme-Pierrepoint Mary,

m. =Gilbert=

=Talbot=, 7

Earl of

Shrewsbury

(d. 1616)

+---------------+---+

| |

Mary, Alethea, m.

m. Wm. Herbert, Thos. Howard,

3 Earl 2 Earl

Pembroke of Arundel

Present Dks

of Norfolk

TABLE D

BEAUMONT, VAUX, TRESHAM, CATESBY

John Beaumont,

Grace-Dieu, Sir Thomas

m. Elizabeth Nicholas, Tresham,

Hastings 1 Lord Vaux Grand Prior,

| of Harrowden Order of

| (1524) St. John,

+------+ | d. 1559

| | Thomas, | Anthony

| | the poet, | Catesby

Francis | 2 Lord Vaux, John |

Beaumont, | b. 1511 Tresham == Eleanor

d. 1598 | | |

| | | +------+

| | =William=, | |

| =Elizabeth= == =3 Lord Vaux= == (2) =Mary= | Sir Robert

| =Beaumont= | d. 1595 | =Tresham= | Throckmorton

| | | | |

+-----+ +---+-+----+ | Sir Thomas +---+

1583-1627 | | | | d. 1605 | |

| | | | | dau.

Francis | | | +--------+----+ m. Sir Wm.

Eleanor, | | the | | |

Brookesby; | | d. 1605 | | |

fl. 1605 | | | | |

| | Elizabeth | |

=Anne Vaux= | m. Ld. | |

(_alias_ Mrs. | Monteagle, | |

Perkins), | bro. of | |

fl. 1605 | Mrs. Abington | |

| | |

+--------------------------------+ Frances, |

| | m. Ld |

| John, 1 Ld. Ambrose Stourton |

| Teynham |

| | =Robert=

| +------------+ =Catesby=

George Vaux, | | the conspirator

d. 1594, m. =Elizabeth Roper= | d. 1605.

the Mrs. (Elizabeth) Vaux of |

the Gunpowder Plot. |

| Joyce,

+-------+----+ m. Walter

| | | Hastings

Edward, | | |

4 Ld. Vaux | | Sir Henry

c. 1591-1661 | | Hastings,

| | m. Elizabeth

Katherine, | Beaumont

m. Henry | of Coleorton

Nevill, 1 Ld. |

Abergavenny |

Mary,

ancestress of

the present

Lord Vaux

TABLE E

FLETCHER, BAKER, SACKVILLE

Richard

Fletcher,

Vicar of Sir John Baker,

Cranbrooke, of Sissinghurst,

fl. 1555-1574 c. 1490-1558

| |

+------+-----+ John Giffard, of |

| | Weston-under-Edge |

Dr. Giles, Richard, | +-----------+--------+

the diplomat; Bp. of | | | |

c. 1549-1611 London, m. (2) =Maria=, | Cicely |

| d. 1596; m. (1) widow of | m. Richard |

+---+--+ Elizabeth | Sir =Richard= Sackville, |

| | Holland | =Baker= Ld. Buckhurst, |

Phineas, | | no children d. 1594 1 Earl of |

1582-1650 | | | Dorset; |

| =John Fletcher=, | (1536-1608) |

| the dramatist, | | |

| 1579-1625 | Robert |

Giles, | Sackville |

c. 1588-1623 | 2 Earl of |

| Dorset, |

+-------------+------------+ d. 1609 |

| | | | Mary, m.

Grisogone Sir Richard Cicely | John Tufton,

m. c. 1595, Baker (Blunt) | of Hothfield,

Sir Henry | | who d. 1567

Lennard (in Sir Henry +--------------+ |

1611, 12 Lord | | |

Dacre, of Richard Edward |

Chevening 3 Earl of 4 Earl of |

and Knole) Dorset, Dorset, |

c. 1588-1624 d. 1652 |

Sir John

Tufton, Bart.,

d. 1624

+------------------+

| |

Anne Tufton Nicholas

m. =Francis= 1 Earl of

=Tresham=, Thanet,

who d. 1605 in 1629

INDEX

(_The page-numbers refer to the foot-notes as well as to the main body

of the text._)

Abington, Mrs., the actress, 377

Abington (Habington), Mrs., sister of Lord Monteagle, 57

_Abuses Stript and Whipt_, 135

actors, lists preceding plays, 229

_Ad Comitissam Rutlundiae_, 173

Addison, Joseph, 188

Aeschylus, 200

afterthought-parentheses, 265, 350

_Alchemist, The_, 110, 325, 334, 336, 343

Alden, R. M., editions of _The Knight_ and _A King and No King_, 110,

117, 234, 252, 258, 287, 300, 311, 312, 318, 361

alliteration, 259

_All's Well that Ends Well_, 79, 115, 390, 391, 392, 393

_Amadis de Gaule_, 313, 322, 327

_Amends for Ladies_, 302, 304, 334

_Anatomy of Melancholy, The_, 186

Anton, Robert, 328

_Antony and Cleopatra_, 75, 79, 116, 283, 389

_Apocrypha, The_, 369

apothegms, 289

_Arcadia_, 106, 108, 111, 133, 158, 159

Ariosto, 34

Aristophanes, 197, 230

Aronstein, P., 407

Ascham, Roger, 23

Ashby-de-la-Zouch, 10, 23, _et passim_

Aston, Sir Walter, 166, 167

_Astree_, D'Urfe, 89-90, 274

'Astrophel,' 166

_As You Like It_, 159, 345, 390, 392

Aubrey, John, _Brief Lives_, ed., A. Clark, 32, 95, 137, 153, 219

Bacon, Sir Francis, 35, 36, 37, 125f., 129, 146, _et passim_

Bacon, Sir Nicholas, and Anthony, 35, 64, 68

Baker, Sir John of Sissinghurst, Kent, 24, 65ff.;

Cicely, Countess of Dorset, 66, 69, 70;

Cicely, Lady Blunt, 69, 70;

Grisogone, Lady Dacre, 69, 70, 178

Baker family, 71, 137

Baker, Sir Richard, 65, 66

Baker, Richard, the historian, 67, 70

Bancroft, Bishop, 64, 216

Bancroft, Thomas, _Two Bookes of Epigrammes and Epitaphs, 1639_, 20

Bandello, Thomas, 392

Banke-Side, 95-96, 114, 170

Barkstead, William, 335

_Barrons Wars, the_, 42

Basse, William, 40, 134, 199, 200

_Battle of Bosworth Field, The_, 184, (22)

Baudouin, _Le Curieux Impertinent_, 332

Beau Manor, 10;

"Beaumanoir," 12

Beaumont and Fletcher, portraits of, 190-192, 217-219;

collaboration of (in general), 3-9, 223-416;

the problem, 225-233;

critical apparatus, 233-235;

folios, 225-229, 236-239;

quartos, 239-241, and under individual plays;

editions, 217, 234, 244, 271, 318, 324, 338, 349, 359, 361, 368,

371, 377;

delimitation of the field, 236-242;

versification, 243-260;

diction of Fletcher, 260-277, of Beaumont, 281-290;

mental habit of Fletcher, 277-280, of Beaumont, 281-290;

authorship of _Foure Playes_, _Love's Cure_, _The Captaine_, 300-306;

of the _Woman-Hater_, 73, 307;

of _The Knight of the Burning Pestle_, 80, 310;

of _The Coxcombe_, 337;

of _Philaster_, 345;

of _The Maides Tragedy_, 349;

of _Cupid's Revenge_, 359;

of _A King and No King_, 361;

of the _Scornful Ladie_, 374;

influence upon Shakespeare (?) 386, upon the drama, 396;

Beaumont and Fletcher compared, 399-411

Beaumont, Anthony, 160

Beaumont, Barons and Viscounts de, 10-12

Beaumont's diction, 281ff.

Beaumont, Elizabeth, Lady Vaux, 15, 46

Beaumont, Elizabeth, sister of the dramatist, Mrs. Seyliard, 43, 45,

46, 70, 159, 176, 187

Beaumont, Elizabeth, daughter of the dramatist, 180, 187

Beaumont, Frances, posthumous daughter of the dramatist, 187ff.

Beaumont, Francis, the dramatist:

his family, early years in Grace-Dieu, Oxford, 10ff.;

at the Inns of Court, earliest poems, etc., 29ff.;

the Vaux cousins and the Gunpowder Plot, 46ff.;

some early plays of, 72ff.;

period of partnership with Fletcher, 95ff.;

relations with Shakespeare, Jonson, and others in the theatrical

world, 114ff., 124ff., 145ff.;

_The Masque of the Inner Temple_, 124-144;

the Pastoralists, and other contemporaries at the Inns of Court,

131-144;

an intersecting circle of jovial sort, 145-149;

the Countess of Rutland (Elizabeth Sidney), 150ff.;

his marriage, death, surviving family, 172ff.;

personality and contemporary reputation, portraits, 190ff.;

versification, 246ff., 281ff.;

stock words, phrases, and figures, 282ff.;

lines of Inevitable Poetry, 287;

his mental habit, 291ff.;

his dramatic art, adaptation, etc., 378ff.;

Did the Beaumont "romance" influence Shakespeare? 386ff.;

not a leader in decadence, 396-401;

Beaumont compared with Fletcher, 401-411;

and with other dramatists, 411-415

Beaumont, Francis, his _Poems_, 39, 40, 150ff., 172-174, 183, 230,

251, 292, 295, 298, 330

Beaumont, Francis, the Justice, father of the dramatist, 15-19, 21,

24, 29

Beaumont, Sir Henry, brother of the dramatist, 16, 18, 29, 44, 45, 99

Beaumont, Sir Henry, of Coleorton, 19, 160

Beaumont, Sir John, brother of the dramatist, 16, 18, 21, 22, 25, 26,

29, 38-40, 42-45, 59-61, 116, 132, 146, 150, 154, 159, 162-164,

166, 180, 182, 184-186, 195

Beaumont, John, Master of the Rolls, 12-14, 59-60

Beaumont, Maria, Lady Villiers, Countess of Buckingham, 19, 160-163

Beaumont, Sir Thomas, 45, 162

Beaumont's versification, 246ff.

Beeston's Players, 314

_Beggers Bush, The_, 98, 236, 237, 378

Bell, H. N., 14

_Bellman of London, The_, 98

Belvoir Castle, 154

Berkenhead, John, 208

Betterton, Thomas, 366

_Biographia Dramatica, The_, 233

Birch, _Mem. of Q. Elizabeth_, 68

Blackfriars Theatre, the, 80, 81, 85, 89, 96, 97, 102, 103, 104, 105,

114, 119, 122, 136, 179, 207, 314, 316, 317, 319, 342, 343, 368,

370, 373

Blackwell's _Treatise on Equivocation_, 53

Blaiklock, Lawrence, 39, 40, 150, 165, 295

Blue Boar Inn, 22

Boas, F. S., ed. of _Philaster_, 349

Boccaccio, 101, 334, 392

Bolton, Edmund, 185, 194

Bond, R. Warwick, 367, 368, 371, 374;

ed. of _The Scornful Ladie_, 377

_Bonduca_, 236, 238, 278, 378, 410

Bosworth, battle of, 22, (184)

_bouleversements_, 364

Boyle, R., 234, 252, 254, 300, 302, 308, 374

Bread-street, 99, 113, 203

Brett, Cyril, _Drayton's Minor Poems_, 191

_Bridal, The_, 359

_Britain's Ida_, Phineas Fletcher, 64

_Britannia's Pastorals_, 132-144

Broadgates, 29

Brome, Richard, 92, 168, 212, 213

Brooke, Christopher, 38, 119, 136, 145, 147-149

Brookesby, Bartholomew, 48, 57;

Edward, 47

Browne, William, 38, 40, 131-144, 153, 202, 214

Browning, Robert, 183, 246

Brydges, Egerton, 233

Buc, Sir George, 349

Buckingham, George Villiers, Duke of, 19, 60, 159-164, 185

Bullen, A. H., art. _John Fletcher_ (D. N. B); gen. editor, _Variorum

Beaumont and Fletcher_, 203, 234, 271, 272, 312, _et passim_

Burbadge, Cuthbert, 103, 342, 343

Burbadge, Richard, 102, 103, 114, 118, 122, 136, 154, 316, 317, 358

Burre, Walter, 81, 319, 320, 322, 323

Burton, William, 16, 186

_Bury-Fair_, 96, 220

_Bussy D'Ambois_, 399

Butler, James, Duke of Ormonde, 188

cadences, conversational and lyrical, 247

caesurae, 244ff.

_Cambridge English Classics_, edition of _Beaumont and Fletcher_, 244,

263-270, _et passim_

Camden, William, 137, 149, 178, 182

_Camden Miscellany, The_, 66

Campion, Father, 46

_Capricious Lady, The_, 377

_Captaine, The_, 98, 111, 176, 236, 240, 306, 378, 383

_Cardenio_ or _Cardenna_, 111, 119

Carey, Giles, 114, 122, 336

Carleton, Mistris, 125

Carr (Ker) Robert, Earl of Somerset, 74, 75, 179, 372

Cartwright, William, 209, 232

Casaubon, Isaac, 182

Catesby, Robert, 49, 50-53, 57, 58

Catholics, and the "Catholic Cousins" of Beaumont, 46ff., 179

_Catiline_, 120, 154, 411

Cavendish, Henry, 17, 24

Cavendishes, the, 16, 17, 38, 165

Cavendish, Sir William, first Duke of Newcastle, 165

_Centurie of Praise_, 200

Cervantes, see _Don Quixote_

Challoner, _Missionary Priests_, 16

Chalmers, A., 185, 233

Chamberlain, John, 125, 126, 155f.

Chancery, Inns of, 29, 30, _et passim_;

and see _Inns of Court_

_Chances, The_, 64, 211, 230, 236, 243, 244, 263, 267, 268, 279, 403

Chapel Players, the, 32

Chapman, George, 85, 86, 87, 98, 102, 116, 122, 124, 125, 132ff., 135,

142, 154, 182, 189, 194, 198, 200, 202, 203, 214, 317, 328, 329,

391, 396, 399, 412

Charles I, 185, _et passim_

Charles II, 358

_Charles, Duke of Byron, The Tragedie of_, 317

Charles, Prince of Wales, 371, 372

Charnwood Forest, 10, 11, 13, 18, 20, 43, 151, 159

Chaucer, Geoffrey, 37

_Chaucer_, Speght's, 24, 178

Cheapside, 99, 114, _et passim_

Child, H. H., 43

_"chorizontes," the_, 9

_Christ's Victorie_, Giles Fletcher, 64

Cicely Tufton, see Rutland

Cinthio, 392

Clarendon, Lord, 169

Clark, Andrew, 147, 148, 192

Cleves wars, the, 368-370, 372, 373

Clifford, Anne, Countess of Dorset, of Pembroke and Montgomery, 192

Clifford's Inn, 131

Clifton, Sir Gervase, 166

Clifton, Lady Penelope, 165f., 174, 202

Cockayne, Sir Aston, 168, 219, 226, 228, 233, 377

Coke, Sir Edward, 52, 58, 148, 162

Coleorton, 12, 19, 45, 160, _et passim_

Coleridge, S. T., 5, 397

Collier, J. P., 102, 220, 233

Collins, _Peerage of England_, 14, 17, 50, _et passim_

_Comedy of Errors, A_, 35, 393, 412, 413

_Commendatory Verses_, 94, 198, 229, 230, _et passim_

_Concerning the True Forms of English Poetry_, 184

Condell, Henry, 103, 120, 122, 343, 402

Congreve, William, 188

_Convivium Philosophicum_, 145-149, 203

Conyoke or Connock, 149

Cook, Alexander, 122

Cooke, W., 377

Coke, Sir Edward, 52, 58

Corbet, Bishop, 181, 195

_Coriolanus_, 389

_Coronation, The_, 229, 237

Coryate, Tom, 99, 149

Cotton, Charles, the elder, 98, 168-170, 226-228

couplet, 'heroic,' 252

Cowley, Abraham, 184

_Coxcombe, The_, 8, 87, 96-101, 103, 106, 111, 202, 208, 228, 236,

240, 273, 286, 287, 294, 296, 298, 311, 332-341, 370, 378, 383,

396, 400

Cranefield, Arthur, 149

Critics of Beaumont and Fletcher, 234

Croke, Sir John, Charles, and Unton, 138

Cromwell, Oliver, 74, 138, 170

_Crowne of Thornes, The_, 184

Cunliffe, J. W., 35, 37

_Cupid's Revenge_, 8, 111-112, 159, 237, 239, 240, 283, 285, 288, 294,

299, 305, 314, 359ff., 370, 378, 381, 384, 386, 387, 388, 389, 396,

407

_Curious Impertinent, The_, _El Curioso Impertinente_, _Le Curieux

Impertinent_, 332, 334, 335

_Custome of the Countrey, The_, 236

_Cymbeline_, 344, 345, 386-395

_Cynthia's Revels_, 85, 96

_Cyropaedeia_, 109

Daborne, Robert, 122, 239, 379, 407

_Damon and Pythias_, 32

Daniel, Joseph, 149

Daniel, P. A., 349, 359

Daniel, Samuel, 142, 194

Darley, G., _Works of Beaumont and Fletcher_, 25, 181, 233

D'Avenant, William, 82, 307, 308, 350

Davies, John, of Hereford, 105, 133, 142, 145, 146, 209, 342, 343,

346, 366

Day, John, 102, 122, 159, 314, 325

Dekker, John, 98, 102, 122, 211, 412

Denham, Sir John, 184

_Description of Elizium_, Drayton, 191

Devereux, Lady Penelope, 166

diction, 260ff., 275f., 281ff., and see Beaumont and Fletcher

Diego Sarmiento, Don, Count Gondomar, 371ff.

Digby, Sir Everard, 48, 50, 52, 53, 57

_Discourse of the English Stage_, 386

disputed plays, 300ff.

_Distrest Mother, The_, 186

_Divine Poems_, Drayton, 191

Dolce, Ludovico, _Giocasta_, 35

Don Diego, see Sarmiento de Acuna

Donne, John, 38, 98, 148, 149, 150, 169

_Don Quixote_, relation to _The Knight of the Burning Pestle_, esp.

321-331;

also 80, 120, 320, 332f., 413

'Doridon,' 140ff.

Douay, 369

Douthwaite, W. R., _Gray's Inn, etc._, 30ff.

_Double Marriage, The_, 6, 236

Drake, Sir Francis, 37, 64, 138, 216

_Dramatic Miscellany_, Davies, 366

Drayton, Michael, 21, 26, 39, 40, 41, 42, 43, 44, 72, 98, 116, 122,

132ff., 137, 145, 153, 182, 185, 187, 191, 192, 194, 201, 202, 209

Drummond, William, of Hawthornden, 84, 90, 152, 193, 194, 202, 230

Dryden, John, 71, 72, 121, 188, 233, 358, 365

_Duchess of Malfi, The_, 411

Dugdale, G., 131

Duke, H. E., _Gray's Inn_, 34ff.

_Duke of Milan, The_, 136

Duke of York, The, (Prince Charles's) Players, 335, 336

D'Urfe, Marquis, 89-90, 274

_Dutch Courtezan, The_, 399

Dyce, Alexander, _Works of Beaumont and Fletcher_, 16, 19, 96, 195,

233, _et passim_

Earle, John, Bishop, 156, 196-198, 209, 230, 241, 346, 385

_Eastward Hoe_, 73, 79, 328

Editions, also Folios and Quartos, see Beaumont and Fletcher

Edwardes, Richard, 32

Edwards, Jonathan, 25

_Eglogs_, a revision of _Idea, the Shepheard's Garland_, Drayton, 42,

187

Ekesildena, Catherine, 186

_Elder Brother, The_, 237, 272

_Elegies_, Brooke, 136

_(Certayn) Elegies--with Satyres and Epigrames_, Fitzgeffrey, 202

_Elegy on the Death of the Virtuous Lady Elizabeth, Countess of

Rutland_, 156, 251

_Elements of Armories_, Bolton, 195

Elizabeth Beaumont Seyliard, see Beaumont, Elizabeth

Elizabeth, Countess of Rutland, see Sidney, Elizabeth

Elizabeth, Princess, 33, 52, 110, 124, 139, 149

Elizabeth, Queen, 67

Elton, Oliver, _Michael Drayton_, 43, 167, 192

_Endimion and Phoebe_, 41

end-stopped lines, 243ff.

_English Palmerin_, see _Palmerin_

_Epicoene_, 103, 120, 322, 324, 335, 369, 413

_Epigrams_, Jonson, 121, 195, 203

_Epistle Dedicatorie_, Shelton, 321, 323

_Epistle to Henery Reynolds_, Drayton, 201

_Epithalamium_, Wither, 135

_Equivocation_, Blackwell's treatise, 53

_Essay of Dramatick Poesie_, Dryden, 233, 358

_Ethelwolf, oder der Koenig Kein Koenig_, 367

Euripides, 35, 200, 207

Evans, Henry, 80, 102, 317, 342

Evelyn, John, letter to Pepys, 218

_Every Man in his Humour_, 92, 413

_Every Man out of his Humour_, 32, 327

_Examination of his Mistris' Perfections_, 172-174

extra syllables, 243

_Faire Maide of the Inne, The_, 236, 238, 378

_Faithful Friends, The_, 237, 378

_Faithfull Shepheardesse, The_, 21, 65, 73, 83-88, 90, 93, 139, 166,

171, 216, 231, 237, 240, 247, 249, 252, 261, 263, 264, 265, 266,

270, 277, 280, 302, 304

_False One, The_, 236

_(Of The) Famous Voyage_, 203

Farquhar, George, 188

Fauchet, _Thierry_, 109

Fawkes, Guy, 49, 52, 56

feet, trisyllabic, 243

_Fellows and Followers of Shakespeare, The_, Gayley, 233, _et passim_;

see Gayley

Fenner, Sir John, 130

Ferrar, William, 138

_Fidele and Fortunio_, 392

Field, Nathaniel, 83, 84, 85, 86, 87, 114, 122, 211, 214, 239, 251,

272, 300, 302, 303, 304, 305, 335, 342, 343, 360, 379, 407

_Fifty Comedies and Tragedies_, 288

Fitzgeffrey, Henry, _Elegies, Satires, and Epigrams_, 202

Fleay, F. G., _Hist. Stage, Chron. Engl. Drama, etc._, 4, 8, 41, 74,

84, 233, 234, 238, 252, 300, 303, 308, 316, 318 _et passim_

Flecknoe, Richard, 386, 397

Fletcher, John, ("I. F.") 40, 195;

his family, his youth, 62ff.;

some early plays of, 82ff.;

period of partnership with Beaumont, 95ff.;

relations with Shakespeare, Jonson, etc., 114ff., 124ff., 145ff.;

later years, portraits, 211ff.;

his versification, 243ff.;

his diction, 260ff.;

stock words, phrases, and figures, 270ff.;

his mental habit, 277ff.;

the Fletcher of the joint-plays, 383ff.;

his dramatic art, 383-385, 399-411

Fletcher, criteria, 243ff.; 260ff.;

see Beaumont and Fletcher, diction, verse, Ye-test, etc.

Fletcher, Richard, Bishop, 62-68

Fletcher, Dr. Giles, 64, 68;

Giles, the younger, 64

Fletcher, Phineas, 64

'Fletcherian Syndicate, the,' 379, 407

_Flowers, The_, 36, 125

Folio, First, Beaumont and Fletcher's _Comedies and Tragedies_, 1647,

(35 Plays), 236

Folio, Second, _Fifty Comedies and Tragedies_, 1679 (53 Plays), 237

Ford, John, 211, 412

_Forrest, The_, Jonson, 152

Fortescue, George, 186

_Foure Playes, or Morall Representations, in One_, (see also

_Triumphs_), 87, 236, 240, 251, 272, 301-305, 378, 386, 388, 389

_Foure Prentises, The_, 204, 325

Frederick, the Elector Palatine, 33, 36, 110, 124

Fuller, Thomas, _Worthies_, 67, 108

Gardiner, Robert, 337

Gardiner, S. R. _Hist. Engl._, and _Prince Charles_, 44, 49, 74,

372ff., _et passim_

Gardiner, Thomas, 138

Garnet, Father Henry, 47, 51-54, 56-59

Garrick, David, 366

Gascoigne, George, _Supposes_, 34, 35, 37

Gayley, C. M., _The Fellows and Followers of Shakespeare_, Part Two,

in _Rep. Eng. Com._, Vol. III, now in press, 233, 300, 385, 408,

409, _et passim_

_Gentleman Usher, The_, 391, 399

Gerard, Father John, 47-56, 165

_Ghost of Richard III_, Brooke, 136

Giffard, Maria, Lady Baker, Mrs. Fletcher, Lady Thornhurst, 65-71

Gilbert, Adrian, 156

_Giocasta_, Ludovico Dolce, 35

_Gismond of Salerne_, 37

Globe Theatre, the, 79, 97, 103, 105, 114, 118, 120, 122, 144, 179, 280

Glover, A, and Waller, A. R., editors of _Camb. Engl. Class., Beaumont

and Fletcher_, 244, 263-270, _et passim_

_Golden Remains, The_, 150

Goodere, Sir Henry, 43, 148;

Francis, Anne, 43

Goodwin, Gordon, 134, 139

_Gorboduc_, 37, 70

Grace-Dieu, 13, 17, 18, 20, 22, 45, 61, 72, 95, 98, 151, 159, 391, _et

passim_

Gray's Inn, 33, 34, 35, 37, 124, 125, 130f.

Greene, Robert, _Menaphon and Pandosto_, 26, 159, 387, 392

_Greenstreet Papers, The_, 103, 119, 136, 319

Greg, W. W., 83, 159, 238, 272

Grey Friars, at Leicester, 22

Grey, Lady Jane, 23, 63, 66

Grosart, A. B., art. in _D. N. B., Sir John Beaumont's Poems_, 16, 185,

187, 195, _et passim_

Gunpowder Plot, the, 46-61, 73, 138, 164

Gurlin, Nat., 202

Guskar, H., 88

Gwynn, Nell, 366

Hakluyt, Richard, 182

Halliwell-Phillipps, J. O., 342

_hamartia_, 354, 358

_Hamlet_, 79, 116, 117, 286, 389

Harcourt, the Rt. Hon. Lewis, 190

Harleian MS. of Fletcher, 195

Harington, Sir John, 63, 67

Harris, John, 212

Hasted, _Hist. Kent_, 50, 69, 71, 176, _et passim_

Hastings, Edward, second Lord, 14;

Elizabeth (grandmother of the dramatist), 13, 14;

Sir Henry, 48, 165;

Lady Mary, 14;

William, first Lord, 14, 23;

Sir William, 14

Hastings, Earls of Huntingdon: George, first Earl, 13, 14;

Francis, second Earl, 13-15, 23, 24, 46;

Henry, third Earl, 14, 24;

George, fourth Earl, 48;

Henry, fifth Earl, 38, 164, 165

Hatcher, O. L., _John Fletcher, A Study in Dramatic Method_, 231, 232,

233, 300, 408, 409, _et passim_;

in _Anglia_, 89

Hawkins, Sir Thomas, 138, 185

Hele, Lewis, 130

Heming, John, 103, 118, 120, 136, 342, 343

Hemings, John, see Heming

_Henry IV_, 110, 115

_Henry VIII_, 120, 179

Herbert, Mary, Countess of Pembroke, 42

Herbert, William, third Earl of Pembroke, 133, 153

Herford, C. H., 287

Herodotus, 109

_Heroical Adventures of the Knight of the Sea_, 328

Herrick, Robert, 169, 170, 350, 361

Herring, Joan, 220

_Hesperides_, Herrick, 169, 170

Heyward, Edward, 137

Heywood, Thomas, 122, 204, 325, 331, 399, 412

_Hierarchie of the Blessed Angells, The_, 204

Hill, H. W., 159

Hill, Nicholas, 203

Hills, G., 337

_Histoire de Celidee, Thamyre, et Calidon_, 89

Historical Portraits (Oxford), 190, 234ff.

_Histriomastix_, 397

_History of Cardenio_, by Fletcher and Shakespeare, 119

Hodgets, John, 40

Holinshed, 392

Holland, Aaron, 318

Holland, Elizabeth, 62, 66

Holland, Hugh, 98, 148, 149

Holme-Pierrepoint, 16, 17

_(Upon an) Honest Man's Fortune_, 8, 144, 176, 215, 220, 236, 238, 280,

378

Hoskins, John, his _Convivium Philosophicum_, 146ff., 149, 203

Howard, Henry, 349, 361

Howard of Walden, Lord, 321

Howe, Josias, 209

Hughes, Thomas, _Misfortunes of Arthur_, 35

_Humorous Lieutenant, The_, 236, 243, 265, 268, 278, 279, 401-403

Huntingdon, see Hastings

hyperbole, 285

_Hypercritica_, Bolton, 194

_Idea, the Shepheard's Garland, Eglogs_, Drayton, 42

_If You Know Not Me, You Know Nobody_, 331

_Ile of Guls_, 159

Imogen, Innogen, 392

Inderwick, F. A., _Calendar of Inner Temple Records_, 30, 131, _et

passim_

_In Laudem Authoris_, 40, 134

Inner Temple, 18, 29, 33, 37, 99, 124ff., 129, 131, 137, 138, 139, 162

_Inner Temple Records_, 29-31, 131, 139, _et passim_

Inns of Court and Chancery, 29, 32, 37, 118, 135, 145, _et passim_

_Insatiate Countess, The_, 399

_Island Princesse, The_, 236, 278

Isley, Ursula, wife of the dramatist, 175-178, 180, 187

Isleys, the, 175-177, 186

iteration, 259

James I, Progress of 1603, 44, 60, 74, 77, 91, 161, 162, 164, 165, 372

joint-plays, 252ff., 400ff., etc.

Jones, Inigo, 125, 145, 147, 148

Jonson, Ben, 3, 5, 9, 24, 32, 52, 72, 82, 84, 85, 86, 96, 97, 98, 99,

100, 101, 102, 103, 110, 111, 114ff., 122, 124, 132ff., 136, 137,

142, 145, 148, 149, 150, 152, 153, 154, 157, 169, 170, 174, 182,

185, 191, 193, 199, 200, 201, 205, 209, 211, 213, 214, 231, 272,

322, 327, 328, 329, 334, 335, 336, 342, 343, 369, 411, 412

Jovius, Paulus, 78

Juby, Edward, 114

_Julius Caesar_, 108, 110

Ker (Carr) Robert, Earl of Somerset, 74, 75, 179, 372

Keysar, Robert, 80, 81, 315, 318, 320, 323

Kinwelmersh, Francis, 35

King, Edward, Milton's 'Lycidas,' 24

_King and No King, A_, 7, 8, 37, 92, 109-110, 112, 121, 145, 146, 174,

205, 237, 239, 241, 252, 255, 258, 259, 273, 275, 288, 293, 294,

307, 308, 311, 346, 361-367, 378, 381, 382, 384, 386-396, 400, 401,

411, 414, 415

_King Lear_, 159, 283

King's Players, the, 38, 97, 102, 103, 105, 109, 110, 114, 119, 120,

122, 124, 136, 211, 306, 315, 316, 343, 345, 349, 360

King's Bench, 138

Kirkham, Edward, 118, 136

_Knight of Malta, The_, 211, 236, 238, 239, 378

_Knight of the Burning Pestle, The_, 7, 41, 73, 79-81, 88, 93, 100,

112, 115, 171, 204, 237, 240, 273, 285, 310-332, 378, 382, 385,

407, 413, 414

_Knight of the Burning Sword, The_, 325

_Knight of the Sunne and His Brother Rosicleer, The_, 327

Knole Park, Kent, 70, 187, _et passim_

Knowles, Sheridan, 359

Koeppel, E., 117

Kyd, Thomas, 26, 200, 204, 285, 286, 313

Lady Elizabeth's Players, 314

Lamb, Charles, 233, 397

Langbaine, G., 233, 332

Lansdowne MS., 200

_Lawes of Candy, The_, 236, 238, 378

Leland, John, _Itinerary_, 10, 11, 154, 160, _et passim_

Lennard, Sir Henry, twelfth Lord Dacre, 70, 71, 178

Leonhardt, B., 117

_Letter to Ben Jonson_, 97-101, 193, 251, 337

Lincoln's Inn, 32, 124f., 135, 136, 145, 148

Lisle, Sir George, 204, 231, 361

_Little French Lawyer, The_, 236

Lodge, Thomas, 159, 392

_Love Lies a-Bleeding_, 103, etc., see _Philaster_

Lovell, John, Lord, 22, 23

_Lovers Progresse, The_, 236

_Loves Cure_, 236, 240, 305, 378

_Love's Labour's Lost_, 392, 412

_Loves Pilgrimage_, 236, 237, 238, 378

Lowin, John, 122, 214, 402

_Loyall Subject, The_, 211, 236, 243, 268, 278, 410

Luce, Morton, 393

Lyly, John, 26, 200

Macaulay, G. C., _Francis Beaumont, a Critical Study_; _Beaumont and

Fletcher_ in _Camb. Hist. Eng. Lit._, 89, 108, 117, 226, 234, 252,

265, 287, 300, 302, 305, 308, 312, 337, 374, 409

_Macbeth_, 286

Macready, W. C., 359

_Mad Lover, The_, 236, 279

_Maide in the Mill, The_, 236

_Maides Tragedy, The_, 6, 7, 107-109, 117, 121, 124, 159, 230, 232,

234, 237, 239, 240, 241, 252, 255, 258, 273, 285, 288, 289, 292,

308, 346, 349-359, 361, 378, 381, 382, 384, 386-395, 398, 400, 405,

407, 411, 414, 415

_Malcontent, The_, 399

Malone, Edmund, 233

Manners, Lady Katharine (Villiers), Duchess of Buckingham, 159, 162,

163

Manners, Roger, see Rutland

Manningham, John, 32

Manverses, the, 16-18

Manwood, Thomas, 136

_Mari coccu, battu et content, Le_, 334

Markham, Lady, 165

Marlowe, Christopher, 33, 194, 200, 201, 204, 285, 286, 313, 326, 362

Marston, John, 73, 88, 102, 122, 328, 329, 396, 399, 412

Martin, Richard, 99, 149

Mary, Queen of Scots, 24, 65, 179

_Masque of the Inner Temple, The_, 119, 124-139, 145, 208, 225, 228,

236, 246, 247, 248, 249, 250, 259, 281, 385

_Masque of Flowers_, see _Flowers_

_Masque of Ulysses and Circe, The_, 133

Massinger, Philip, 6, 8, 98, 119, 122, 136, 168, 169, 201, 203, 211,

214, 219, 226, 228, 234, 241, 265, 272, 300, 305, 306, 326, 340,

379, 400, 407;

authorities upon his style, 300

Mayne, Jasper, 361

McKerrow, R. B., 271, 272

_Measure for Measure_, 391, 392, 393

_Menaechmus_, 35

_Menaphon_, 159

Merchant Taylors' School, 86

Mermaid Tavern, the, 97-99, 114, 145, 148, 149, 193, 203

_Merry Wives, The_, 110

_Metamorphosis of Tobacco_, 38

_Microcosmographie_, 198

Middle Temple, the, 118, 124f., 138

Middleton, Thomas, 102, 122, 201, 211, 239, 272, 305, 324, 399, 407,

412

_Midsummer-Night's Dream, A_, 392

Milner, J. D., 218

_Mirror for Magistrates, The_, 70

_Mirror of Knighthood, The_, 327, 329

'Mirtilla', 43, 45, 187

_Miseries of Enforced Marriage, The_, 324

_Misfortunes of Arthur, The_, 35

Mitre Inn, The, 94, 145, 146

_Monsieur Thomas_, 73, 84, 88-94, 168, 237, 243, 245, 247, 263, 383

Montaigne, 228

Montagu, Lady Mary Wortley, 25

Monteagle, Lord, 50, 51, 57

Montemayor, 392

Moore, Sir Thomas, 194

More, Paul Elmer, 272f., 355f., 397ff., 415

Morris, John, _Life of Father Gerard_, 46-59 _et passim_

Mosely, Humphrey, _The Stationer to the Readers_, 130, 206, 216, 217

_Morte d'Arthur_, 327

Mountjoy, Christopher, 114, 118

_Moyses in a Map of his Miracles_, 42

_Mucedorus_, 331

_Much Ado About Nothing_, 110, 344, 390, 392

Mulcaster, Richard, 86, 318

Munday, Anthony, 327

Murch, H. S., ed. of _The Knight_, 324, 330

Murray, J. T., _Eng. Dram. Comp._, 104, 105, 315, 368

_Muses Elizium_, 44, 187, 191

_Narrative_ of Father Gerard, 47, 54

Nashe, Thomas, 154, 204

Nevill, Sir Henry, the elder, 145-148, 153;

the younger, 145, 146

_Nice Valour, The_, 97, 98, 216, 236, 238, 378

Nichols, J., _Collections_, _Hist. Leicestershire_, _Progresses of

Queen Elizabeth_, _Progresses of James I_, 12, 13, 19, 65, 131,

186, _et passim_

_Nimphalls_, Drayton, 187, 191

_Night Walker, The_, 237

_Noble Gentleman, The_, 236, 238, 378

Northumbrian MS. of _Bacon_, 146

Norton, Thomas, _Gorboduc_, 37

oaths, 275, 286

_Oath of Allegiance, The_, 60, 164

_Obstinate Lady, The_, 377

_Ode to Sir William Skipworth_, 215

Oldfield, Mrs., 377

_Old Wives Tale, The_, 326

Oliphant, E. H., 83, 117, 234, 241, 252, 270, 272, 281, 300, 302, 304,

309, 312, 337, 338, 340, 374

_On the Tombs in Westminster_, 183

optatives, 275, 286

_Orlando Furioso_, 334

Ostler (Osteler, Ostler, Osler), Wm., 122, 342, 343

_Othello_, 79, 110

Overbury, Sir Thomas, 27, 153, 179

Ovid, 38, 41, 142

_Palamon and Arcite_, 32

'Palmeo', 43, 187

_Palmerin de Oliva, Palmerin of England_, 313, 325, 327, 329

_Pandosto_, 159, 392

_Parisitaster_, 88

Pastoralists, the, 124, 132-144, 145

_Pastorals_, Ambrose Philips, 186

Paul's Players, the, 73, 83, 102, 315, 316, 318

Peele, George, 326, 329

Pepys, Samuel, 218, 358, 366

Percy, Thomas, 49-52

_Pericles_, 118, 344, 345, 387, 391, 392, 393, 394

Persons, Father, 46, 47

Pettus, Sir John, 231

_Philaster_, 6, 7, 72, 88, 92, 96, 97, 101-107, 109, 116, 121, 159,

191, 230, 237, 239, 240, 241, 252, 253, 258, 259, 260, 261, 273,

285, 294, 297, 298, 302, 307, 308, 311, 312, 329, 337, 341-349,

361, 378, 381, 382, 384, 386-396, 412, _et passim_.

Philip III of Spain, 371, 372

Philips, Sir Ambrose, 186

Phillipps de Lisles, the present, 186

Phillipps, J. O. Halliwell, 342

Phillips, Sir Robert, 149

_Philosophia Epicurea Democritiana_, 203

Pierce, Edward, 315

Pierrepoint, Anne, mother of the dramatist, 16-18, 25

Pierrepoint, Sir Henry, 16, 18, 45

Pierrepoint, Robert, first Earl of Kingston, 17, 27, 38, 164, 179

_Pilgrim, The_, 236, 278

Plautus, 35, 197, 230

_Plutus_, 125

_Poems, The_, of Beaumont, see Beaumont, Francis, _The Poems_

_Poems Lyrick and Pastoral_, Drayton, 42

_Poetaster, The_, 149, 342

Poets' Corner, 182ff., 192, 196, 199

Pole, Katherine, 14

Portraits of Beaumont, Nuneham, 181, 190, 192;

Robinson's engraving of 1840, 190, 217;

Knole, 190, 192, 217;

G. Vertue, 217;

Evans, 217;

Walker and Cockerell, 218

Portraits of Fletcher, Knole: Blood, 217;

G. Vertue, 217;

Evans, 217;

Robinson, 217;

Walker, 218;

Earl of Clarendon's, 218;

Janssen, 219

'Prince of Misrule', 34

'Prince of Portpoole', 34

Prince's Players, the, 114

_Praise of Hemp-seed, The_, 199

Princess Elizabeth's Players, 336

_Prophetesse, The_, 236

prose-test, the, 259

Prynne, William, 397, 399

_Purple Island, The_, Phineas Fletcher, 64

Queen Anne's Players, 314, 318

_Queene of Corinth, The_, 211, 236

Queen Henrietta's Players, 314

Queen's Revels' Children, the, 80, 81, 83, 86, 87, 89, 96, 102, 103,

111, 114, 122, 124, 304, 305, 314, 315, 317, 319, 332, 335-337,

342, 343, 360, 368-370, 373

Raleigh, Sir Walter, 36, 100, 138, 149, 155, 165, 179

Randolph, Thomas, 150

Red Bull Theatre, the, 313, 318

'Remond' and 'Doridon,' query, Fletcher and Beaumont, 139-144

_Revesby Sword-Play_, 34

Reynolds, Henry, 132, 201

Reynolds, John, 147

rhyme, 250

'_Ricardo and Viola_,' 338, 383

Richard III, 14, 22

Rigg, J. M., 13ff., 19

_Rollo_, 237

'romance,' 279, 394, _et passim_

_Romeo and Juliet_, 286, 389

_Rosalynde_, 159

Rosenbach, A. S. W., 333

Rossiter, Philip, 103, 315, 316, 319, 370

Routh, H. V., 328

Rowley, William, 211, 239, 272, 314, 407, 412

_Royall King and Loyall Subject_, 399

_Rule a Wife and Have a Wife_, 211, 237, 243, 244, 249, 263, 268, 269,

280, 403

run-on lines, 174, 250, 255, 258ff., 261ff.

Rutland, Roger Manners, fifth Earl, 48, 152-155;

Francis, sixth Earl, 162, 163;

Elizabeth, Countess of, see Sidney, Elizabeth;

Cicely (Tufton), Countess of, 163

Rymer, Thomas, 233, 354, 355, 397

Sackville, Edward, fourth Earl of Dorset, 191

Sackville, Lionel, seventh Earl of Dorset, 191, 217

Sackville, Richard, third Earl of Dorset, 70, 179, 180, 191

Sackville, Thomas, first Earl of Dorset, 37, 65-71

_Salmacis and Hermaphroditus_, 39, 40, 41, 134, 141, 142

Sampson, M. W., 386

Sannazarro, 392

Sarmiento de Acuna, Don Diego, Count Gondomar, 371-373

Schelling, F. E., 234, 295

Schevill, Rudolph, 322f., 324, 330, 332

_Scornful Ladie, The_, 7, 100, 111-113, 171, 180, 232, 237, 238, 239,

240, 273, 368-378, 382, 383, 396

_Scourge of Folly, The_, 104, 342, 343, 344

_Sea Voyage, The_, 236

'_Second Maiden's Tragedy_,' 334

_Sejanus_, 148, 411

Selden, John, 99, 137, 149, 169, 170

Semphill, Sir James, 59-60

Seneca, 37

_Session of the Poets, The_, Suckling, 137

Seyliard, Mrs., see Elizabeth Beaumont

Seyliard, Thomas, 45, 159, 176, 187;