"Women Pleased" Claudio disguises himself, and makes love to his married sister Isabella in order to test her chastity. The question as to the authorship of "The Two Noble Kinsmen" has an interest perhaps even greater than that concerning the shares of Beaumont and Fletcher respectively in the plays they wrote together, because in this case a part is attributed to Shakespeare. "The Two Noble Kinsmen was first published in 1634, and ascribed on the title-page to "the memorable worthies of their time, Mr. John F. and Mr. W. S." That Fletcher's name should have been put first is not surprising, if we remember his great popularity. He seems for a time to have been more fashionable than Shakespeare, especially with the young bloods fresh from the University and of the Inns of Court. They appear to have thought that he knew the world, in their limited understanding of the word, better than his great predecessor. The priority of name on the title-page, if not due to this, probably indicated that the greater part of the play was from the hand of Fletcher. Opinion has been divided, with a leaning on the part of the weightier judges towards giving a greater or less share to Shakespeare. I think the verdict must be the Scottish one of "not proven." On the one hand, the play could not have been written earlier than 1608, and it seems extremely improbable that Shakespeare, then at the height of his fame, and in all the splendid maturity of his powers and of his mastery over them, should have become the 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 am not altogether convinced, for Fletcher could heighten his style when he thought fit, and when the subject fully inspired him. I 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 of accepting too literally what Ben Jonson says of his "little Latin and less Greek." However that may be, and I am inclined to think Shakespeare had more learning even, not to say knowledge, than is commonly allowed him, it is singular that the man whose works show him to have meditated deeply on whatever interests human thought, should have been supposed never to have given his mind to the processes of his own craft. But this comparison of him with Beaumont and Fletcher suggests one remark of some interest, namely, that not only are his works by far more cleanly in thought and phrase than those of any of his important contemporaries, except Marlowe, not only are his men more manly and his women more womanly than theirs, but that his types also of gentlemen and ladies are altogether beyond any they seem to have been capable of conceiving. Of the later dramatists, I think Beaumont and Fletcher rank next to Shakespeare in the amount of pleasure they give, though not in the quality of it, and in fanciful charm of expression. In spite of all their coarseness, there is a delicacy, a sensibility, an air of romance, and above all a grace, in their best work that make them forever attractive to the young, and to all those who have learned to grow old amiably. Imagination, as Shakespeare teaches us to know it, we can hardly allow them, but they are the absolute lords of some of the fairest provinces in the domain of fancy. Their poetry is genuine, spontaneous, and at first hand. As I turn over the leaves of an edition which I read forty-five years ago, and see, by the passages underscored, how much I enjoyed, and remember with whom, so many happy memories revive, so many vanished faces lean over the volume with me, that I am prone to suspect myself of yielding to an enchantment that is not in the book itself. But no, I read Beaumont and Fletcher through again last autumn, and the eleven volumes of Dyce's edition show even more pencil marks than the two of Darley had gathered in repeated readings. The delight they give, the gayety they inspire, are all their own. Perhaps one cause of this is their lavishness, their lightsome ease, their happy confidence in resources that never failed them. Their minds work without that reluctant break which pains us in most of the later dramatists. They had that pleasure in writing which gives pleasure in reading, and deserve our gratitude because they promote cheerfulness, or, even when gravest, a pensive melancholy that, if it does not play with sadness, never takes it too seriously. VI MASSINGER AND FORD PHILIP MASSINGER was born in 1584, the son of Arthur Massinger, a gentleman who held some position of trust in the household of Henry, Earl of Pembroke, who married the sister of Sir Philip Sidney. It was for her that the "Arcadia" was written. And for her Ben Jonson wrote the famous epitaph: "Underneath this sable hearse Sidney's sister, Pembroke's mother. Time shall throw a dart at thee." It would be pleasant to think that Massinger's boyhood had been spent in the pure atmosphere that would have surrounded such a woman, but it should seem that he could not have been brought up in her household. Otherwise it is hard to understand why, in dedicating his "Bondman" to Philip, Earl of Montgomery, one of her sons, he should say, "However, I could never arrive at the happiness to be made known to your lordship, yet a desire, born with me, to make a tender of all duties and service to the noble family of the Herberts descended to me as an inheritance from my dead father, Arthur Massinger." All that we |