junior partner of a younger man. Nor can he be supposed to have made the work over and adapted it to the stage, for he appears to have abandoned that kind of work long before. But we cannot suppose the play to be so early as 1608, for the parts admitted on all hands to be Fletcher's are in his maturer manner. Yet there are some passages which seem to be above his reach, and might lead us to suppose Fletcher to have deliberately imitated Shakespeare's manner; but that he never does, though indebted to him for many suggestions. There is one speech in the play which is certainly very like Shakespeare's in the way it grows, and beginning with a series of noble images, deepens into philosophic thought at the close. And yet I am not altogether convinced, for Fletcher could heighten his style when he thought fit, and when the subject fully inspired him. Beaumont and Fletcher undoubtedly owed a part of their immediate renown to the fact that they were looked upon as gentlemen and scholars. Not that they put on airs of gentility, as their disciple Ford was fond of doing a little later, and as Horace Walpole, Byron, and even Landor did. They frankly gave their address in Grub Street, so far as we know. But they certainly seem to have been set up, as being artists and men of the world, not perhaps as rivals of Shakespeare, but in favorable comparison with one who was supposed to owe everything to nature. I believe that Pope, in the preface to his edition of Shakespeare, was the first to express doubts about the wisdom |