Francis Beaumont: Dramatist A Portrait

WITH SOME ACCOUNT OF HIS CIRCLE, ELIZABETHAN AND JACOBEAN, AND OF HIS ASSOCIATION WITH JOHN FLETCHER

BY CHARLES MILLS GAYLEY, LITT.D., LL.D.

Professor of the English Language and Literature in the University of California

LONDON DUCKWORTH & CO. 3 HENRIETTA STREET, COVENT GARDEN 1914

Copyright, 1914, by The Century Co.

Published, February, 1914

TO MY WIFE

PREFACE

In this period of resurgent dramatic creativity when once more the literature of the stage enthralls the public and commands the publisher, it is but natural that playwright, play-lover, and scholar alike should turn with renewed and enlightened interest to the models afforded by our Elizabethan masters of the age of gold, to the circumstances of their production and the lives of their imperishable authors. Very close to Shakespeare stood Beaumont and Fletcher; but, though during the past three centuries books about Shakespeare have been as legion and studies of the "twin literary heroes" have run into the hundreds, to Fletcher as an individual but one book has been devoted, and to Beaumont but one.

A portrait of either Beaumont or Fletcher demands indeed as its counterpart, painted by the same brush and with alternating strokes, a portrait of his literary partner and friend. But in spirit and in favour the twain are distinct. In this book I have tried to present the poetic and compelling personality of Francis Beaumont not only as conjoined with, and distinguished from, the personality of Fletcher, but as seen against the background of historic antecedents and family connections and as tinged by the atmosphere of contemporary life, of social, literary, and theatrical environment. No doubt the picture has its imperfections, but the criticism of those who know will assist one whose only desire is to do Beaumont justice.

I take pleasure in expressing my indebtedness to the authorities of the Bodleian Library and the British Museum, to those of the National Portrait Gallery (especially Mr. J. D. Milner), to our own Librarian of the University of California, Mr. J. C. Rowell, for unfailing courtesy during the years in which this volume has been in preparation; to Mr. J. C. Schwab, Librarian of Yale University, for the loan of rare and indispensable sources of information, and to my colleague, Professor Rudolph Schevill, for reading proof-sheets and giving me many a scholarly suggestion. I deplore my inability to include among the illustrations carefully made by Emery Walker, of 16 Clifford's Inn, a copy of the portrait of Beaumont's friend, Elizabeth, Countess of Rutland, which hangs at Penshurst. On account of the recent attempt to destroy by fire that time-honored repository of heirlooms as precious to the realm as to the family of Sidney, the Lord de L'Isle and Dudley has found it necessary to close his house to the public.

Charles Mills Gayley.

Berkeley, California, December 15, 1913.

LIST OF ILLUSTRATIONS

[1]

BEAUMONT, THE DRAMATIST PART ONE

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

[2] [3]

CHAPTER I

THE CASTOR AND POLLUX OF ELIZABETHAN DRAMA

"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[4] 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[5] 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[6] 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."

The essay in which this noble estimate of Beaumont occurs remains indeed "the classical modern criticism of Beaumont and Fletcher," and although recent research has resulted in "variety of opinion concerning the precise authorship of some of the plays commonly attributed to those writers" its value is substantially unaffected. The figure as revealed in[7] glorious proportions to the penetrative imagination and the sympathy of poetic kinship, remains, but by the patient processes of scientific research the outlines have been more sharply defined and the very lineaments of Beaumont's countenance and of Fletcher's, too, brought, I think, distinctly before us. Though Swinburne attributes, almost aright, to Beaumont alone one play, The Woman-Hater, and ascribes to him the predominance in, and the better portions of Philaster and The Maid's Tragedy, and the high interest and graduated action of the serious part of A King and No King, and also justly associates him with Fletcher in the composition of The Scornful Lady, and gives him alone "the admirable study of the worthy

citizen and his wife who introduced to the stage and escort with their applause The Knight of the Burning Pestle," and implies his predominance in that play, he does not enumerate for us the acts and scenes and parts of scenes which are Beaumont's or Fletcher's, or Beaumont's revised by Fletcher, in any of these plays; and consequently he points us to no specific lines of poetic inspiration, no movements distinctively conceived by either dramatist and shaped by his dramatic pressure, no touchstone by which the average reader may verify for himself that "to Beaumont his stars had given as birthright the gifts of tragic pathos and passion, of tender power and broad strong humour," and that "to Fletcher had been allotted a more fiery and fruitful force of invention, a more aerial ease and swiftness of action, a more various readiness and fullness of bright exuberant speech." Though he is right in discerning in the homelier emotion and pathetic[8] interest of The Coxcombe, and of Cupid's Revenge the note of Beaumont's manner, he couples with the

former The Honest Man's Fortune in which it is more than doubtful whether Beaumont had any share. To speak of Arbaces in A King and No King as Beaumont's, is mainly right, but not wholly, and to assign to him the keen prosaic humour of Bessus and his swordsmen, is to assign precisely the scenes that he did not compose. To speak of Beaumont's Triumph of Love is perhaps defensible; but, with grave reluctance, we now question the attribution. He is justified in withdrawing "the noble tragedy of Thierry and Theodoret" from the field of Beaumont's coöperation and ascribing it to Fletcher and Massinger; but he is undoubtedly wrong when he fails to couple the latter's name with that of Fletcher as author of Valentinian. Writing as Swinburne did after a study of Fleay's first investigations into the versification of Fletcher, Beaumont, and Massinger, the wonder is not that once or twice, as a critic, he makes an incorrect attribution, but that his poetic instinct so successfully defied the temptation to enumerate in detail the respective contributions of Beaumont and

Fletcher on the basis of metrical tests par excellence,—so surprisingly novel and seductively convincing were the tests then recently formulated. Swinburne's mistakes are of sane omission rather than of supererogation. By his judgments as a critic one can not always swear; but here he is, in the main, marvelously right, and a thousand times rather to be followed than some of the successors of Fleay who have swamped the personality of Beaumont by heaping on[9] him, foundered, sods from a dozen turf-stacks which he never helped to build.

But the chorizontes—those who would separate every scene and line of the one genius from those of the other—are not lightly to be spoken of. It is only by combining their methods of analysis with the intuitions of the poet-critics that one may hope to see Frank Beaumont plain: "the worthiest and closest follower of Shakespeare in the tragic field; the earliest as well as ablest disciple of Ben Jonson in pure comedy, varied with broad farce and mock-heroic parody." The labour is well bestowed if by its means lovers of poetry and the drama, while not ceasing to admire the elder dramatist, Fletcher, may be led to accede at last to the younger his due and undivided honour, may come to speak of him by unhyphenated name—a personality of passion and of fire, a gracious power in poetry, of effulgent dramatic creativity;—if, like the ancients, they may protest occasionally in the name of Pollux alone.

[10]

CHAPTER II

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

Francis Beaumont, the dramatist, came of the younger line of an ancient and distinguished family of Anglo-Norman descent in which there had been Barons de Beaumont from the beginning of the fourteenth to the beginning of the sixteenth century. They lived, as did the dramatist later, in the forest of Charnwood in Leicestershire,—part of the old forest of Arden. And it is of a ride to their family seat that John Leland, the antiquary, speaks when in his itinerary, written between 1535 and 1543, he says: "From Leicester to Brodegate, by ground well wooded three miles.... From Brodegate to Loughborough about a five miles.... First, I came out of Brodegate Park into the forest of Charnwood, commonly called the Waste. This great forest is a twenty miles or more in compass, having plenty of wood.... In this forest is no good town nor scant a village; Ashby-de-la-Zouche, a market town and other villages on the very borders of it.... Riding a little further I left the park of Beau Manor, closed with stone walls and a pretty lodge in it, belonging of late to Beaumonts....

There is a fair quarry of alabaster stone about a four miles from Leicester, and not very far[11] from Beau Manor.[1]... There was, since the Bellemonts [Beaumonts], earls of Warwick, a baron [at Beaumanoir] of great lands of that name; and the last of them in King Henry the Seventh's time was a man of simple wit. His wife was after married to the Earl of Oxford."[2] These barons "of great lands," living in Charnwood Forest,—where, as another old writer tells us, "a wren and a squirrel might hop from tree to tree for six miles; and in summer time a traveler could journey from Beaumanoir to Burden, a good twelve miles, without seeing the sun,"—these barons are the de Beaumonts, from the fourth of whom, John, Lord Beaumont, who died in 1396, our dramatist was descended.

The barony ran from father to son for six generations of alternating Henries and Johns, c. 1309 to 1460. John, fourth Baron; was grandson of Alianor, daughter of Henry, Earl of Lancaster, and so descended from Henry III and the first kings of the House of Plantagenet. The second Baron, husband of Alianor of Lancaster, was through his mother, Alice Comyn, descended from the Scotch Earls of Buchan, and thus connected with the Balliols and the royal House of Scotland; through his father, Henry, the first Baron de Beaumont, who died in 1343, he was great-grandson of John de Brienne, titular King of Jerusalem, 1210-1225.[3] In a quaint tetrastich in the church of Barton-upon-Humber, the memory of these alliances is thus preserved:

[12]

The sixth Baron became, in 1440, the first Viscount of English creation; he married a granddaughter of the Lord Bardolph of Shakespeare's 2 Henry IV; but with his son "of simple wit," who died in 1507, the viscounty died out. Beaumanoir to the east of Charnwood is seven miles north of Leicester and nine from Coleorton where, west of the Forest, an older branch of the Beaumont family of which we shall hear, later, continued to live and is living to-day; and the old barony was revived, in 1840, in a descendant of the female line, Miles Thomas Stapleton, as ninth Baron Beaumont.

The grandfather of the dramatist, John Beaumont, was in the third generation from Sir Thomas Beaumont, the younger son of the fourth Lord Beaumont. John evidently had to make his way before he could establish himself near the old home in Leicestershire; but he must have had some competence and position from the first, for he was admitted early, in the reign of Henry VIII, a member of the Inner Temple; in 1537 and 1543 he performed the learned and expensive functions of Reader, or exponent of the law in that society, and later was elected treasurer or presiding officer of the house. He started brilliantly in his profession. In 1529 he was counsellor for the corporation of Leicester; and, by 1539, he had means or[13] influence sufficient to secure for himself the old Nunnery of Grace-Dieu in Charnwood Forest, which, as an ecclesiastical commissioner he had four years earlier helped to suppress. That he entered into possession, however, only with difficulty, is manifest from a letter which he wrote in 1538 to Lord Cromwell, enclosing

£20 as a present and beseeching his lordship's intercession with the king that he may be confirmed in his ownership of the "demenez" as against the cupidity of George, first Earl of Huntingdon, who "doth labour to take the seyd abbey ffrom me; ... for I do ffeyre the seyd erle and hys sonnes do seeke my lyffe."[5] He occupied various important legal and administrative positions in the county, and, shortly before the death of Edward VI, was appointed to the high office of Master of the Rolls, or Judge of the Court of Appeal. A year or two later, however, early in 1553, he was removed from his seat on the bench, for defalcation and other flagrant breach of trust. He was imprisoned and fined in all his property, and died the next year. His vast estates were bestowed on Francis, Earl of Huntingdon, by Edward VI, but soon afterward, as a result of legal manœuvre and by the assistance of that Earl and his eldest son, the widow of the Master of the Rolls contrived to retain the manor of Grace-Dieu; and it long continued to be the country seat of the Beaumonts.[6] This prudent,

strenuous, and high-born lady, Elizabeth Hastings,[14] was the daughter of Sir William Hastings, a younger son of the incorruptible William, Lord Hastings, whom in 1483 Richard of Gloucester had decapitated. Her grandmother, Catherine Nevil, was daughter to the Earl of Salisbury, who died at Pomfret, and sister to Richard, Earl of Warwick, the King-maker. Elizabeth's aunt, Anne Hastings, was the wife of George Talbot, fourth Earl of Shrewsbury, and her uncle, Edward, was the second Lord Hastings. Edward's children, our Elizabeth's first cousins, were Anne, Countess to Thomas Stanley, second Earl of Derby, and that George, first Earl of Huntingdon, whom, with certain of his five sons, the master of Grace-Dieu "ffeyred."[7] We may conjecture that the feud expired with the marriage of Elizabeth Hastings and John Beaumont, or with the death of the first Earl in 1544; and that the policy of his successors, Francis and Henry, in securing to the Huntingdon family the reversion of the forfeited estates of the Master of the Rolls and, later, releasing a portion of them to Elizabeth,

was dictated by cousinly affection.