Francis Beaumont: Dramatist. Gayley Charles Mills

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СКАЧАТЬ too; for, if she was virtuous, as her nephew records,41 "the more happy she in herself, though unhappy that the world did not believe it."42 Certain it is, that in a contemporary satire she is thrice-damned as of the most ancient of disreputable professions, and once dignified as "my Lady Letcher." Though of unsavoury reputation, she was of fine appearance, and socially very well connected. Her brother, Sir George Giffard, was in service at Court under Elizabeth; and in Sackville, Lord Buckhurst, she had a brother-in-law, who was kinsman to the Queen, herself. But not only did the Queen dislike her, she disliked the idea of any of her prelates, especially her comely Bishop of London, marrying a second time, without her express consent. For a year after this second marriage the Bishop was suspended from his office. "Here of the Bishop was sadly sensible," says Fuller, "and seeking to lose his sorrow in a mist of smoak, died of the immoderate taking thereof." Sir John Harington, however, tells us that he regained the royal favour; – "but, certain it is that (the Queen being pacified, and hee in great jollity with his faire Lady and her Carpets and Cushions in his bed-chamber) he died suddenly, taking Tobacco in his chaire, saying to his man that stood by him, whom he loved very well, 'Oh, boy, I die.'"

      That was in 1596. The Bishop left little but his library and his debts. The former went to two of his sons, Nathaniel and John. The latter swallowed up his house at Chelsea with his other properties. The Bishop's brother and chief executor of the will, Giles, the diplomat, is soon memorializing the Queen for "some commiseration towards the orphans of the late Bishopp of London." He emphasizes the diminution of the Bishop's worldly estate consequent upon his translation to the costly see of London, his extraordinary charges in the reparation of the four episcopal residences, his lavish expenditure in hospitality, his penitence for "the errour of his late marriage," and concludes: – "He hath left behinde him 8 poore children, whereof divers are very young. His dettes due to the Quenes Majestie and to other creditors are 1400li. or thereaboutes, his whole state is but one house wherein the widow claimeth her thirds, his plate valewed at 400li., his other stuffe at 500li." Anthony Bacon, who sympathized with the purpose of this memorial, enlisted the coöperation of Bishop Fletcher's powerful friend and his own patron, the Earl of Essex, who "likewise represented to the Queen the case of the orphans … in so favourable a light that she was inclin'd to relieve them;" but whether she did so or not, we are unable to discover.43

      What John Fletcher, – a lad of seventeen, when, in 1596, he was turned out of Fulham Palace and his father's private house in Chelsea, with its carpets and cushions and the special "stayre and dore made of purpose … in a bay window" for the entrance of Queen Elizabeth when she might deign, or did deign, to visit her unruly prelate, – what the lad of seventeen did for a living before we find him, about 1606 or 1607, in the ranks of the dramatists, we have no means of knowing. Perhaps the remaining years of his boyhood were spent with his uncle, Giles, and his young cousins, the coming poets, or with the aunt whom his father called "sister Pownell." The stepmother of eighteen months' duration is not likely with her luxurious tastes and questionable character to have tarried long in charge of the eight "poore and fatherless children." She had children of her own by her previous marriage, in whom to seek consolation, Grisogone and Cicely Baker, then in their twenties, and devoted to her.44 And with one or both we may surmise that she resumed her life in Kent, or with the heir of sleepy Sissinghurst, making the most of her carpets and cushions and such of her "thirds" as she could recover, until – for she was but forty-seven – she might find more congenial comfort in a third marriage. Her permanent consoler was a certain Sir Stephen Thornhurst of Forde in the Isle of Thanet; and he, thirteen years after the death of her second husband, buried her in state in Canterbury Cathedral, 1609.

      In 1603 her sister-in-law, Cicely (Baker) Sackville, now Countess of Dorset and the Earl, her husband, that fine old dramatist of Beaumont's Inner Temple, and former acquaintance at Fotheringay of John Fletcher's father, had taken possession of the manor of Knole, near Sevenoaks in Kent, where their descendants live to-day. Before 1609, Fletcher's stepsister Cicely, named after her aunt, the Countess, had become the Lady Cicely Blunt. Grisogone became the Lady Grisogone Lennard, having married, about 1596, a great friend of William Herbert, Earl of Pembroke, and of his Countess (Sir Philip Sidney's sister), Sir Henry, the son of Sampson Lennard of Chevening and Knole. The Lennard estate lay but three and a half miles from that of their connections, the Dorsets, of Knole Park. If young Fletcher ever went down to see his stepmother at Sissinghurst, or his own mother's family in Cranbrook, he was but twenty-six miles by post-road from Chevening and still less from Aunt Cicely at Knole. Beaumont, himself, as we shall see, married the heiress of Sundridge Place a mile and a half south of Chevening, and but forty minutes across the fields from Knole. His sister Elizabeth, too, married a gentleman of one of the neighbouring parishes. The acquaintance of both our dramatists with Bakers and Sackvilles was enhanced by sympathies literary and dramatic. A still younger Sir Richard Baker, cousin to John Fletcher's stepsisters, and to the second and third Earls of Dorset, was an historian, a poet, and a student of the stage – on familiar terms with Tarleton, Burbadge, and Alleyn. And the literary traditions handed down from Thomas Sackville, the author of Gorboduc and The Mirror for Magistrates were not forgotten by his grandson, Richard, third Earl of Dorset, the contemporary of our dramatists, – for whom, if I am not mistaken, their portraits, now hanging in the dining-room of the Baron Sackville at Knole, were painted.45

      I have dwelt thus at length upon the conditions antecedent to, and investing, the youth of Beaumont and of Fletcher, because the documents already at hand, if read in the light of scientific biography and literature, set before us with remarkable clearness the social and poetic background of their career as dramatists. When this background of birth, breeding, and family connection is filled in with the deeper colours of their life in London, its manners, experience, and associations, one may more readily comprehend why Dryden says in comparing them with Shakespeare, "they understood and imitated the conversation of gentlemen [of contemporary fashion] much better; whose wild debaucheries and quickness of wit in repartees, no poet before them could paint as they have done."

      CHAPTER VI

      SOME EARLY PLAYS OF BEAUMONT AND OF FLETCHER

      Beaumont and Fletcher may have been friends by 1603 or 1604, – in all likelihood, as early as 1605 when, as we have seen, Drayton and other "southern Shepherds" were by way of visiting the Beaumonts at Grace-Dieu. In that year Jonson's Volpone was acted for the first time; and one may divine from the familiar and affectionate terms in which our two young dramatists address the author upon the publication of the play in 1607 that they had been acquainted not only with Jonson but with one another for the two years past. We have no satisfactory proof of their coöperation in play-writing before 1606 or 1607. According to Dryden, – whose statements of fact are occasionally to be taken with a grain of salt, but who, in this instance, though writing almost sixty years after the event, is basing his assertion upon first-hand authority, – "the first play that brought 'them' in esteem was their Philaster," but "before that they had written two or three very unsuccessfully." Philaster, as I shall presently show, was, in all probability, first acted between December 7, 1609 and July 12, 1610. Before 1609, however, each had written dramas independently, Beaumont The Woman-Hater and The Knight of the Burning Pestle; Fletcher, The Faithfull Shepheardesse, and maybe one or two other plays. Our first evidence of their association in dramatic activity is the presence of Fletcher's hand, apparently as a reviser, in three scenes of The Woman-Hater, which was licensed for publication May 20, 1607, as "lately acted by the Children of Paul's." From contemporary evidence we know, as did Dryden, that two of these plays, The Knight and Faithfull Shepheardesse were ungraciously received; and Richard Brome, about fourteen years after Fletcher's death, suggests that perhaps Monsieur Thomas shared "the common fate."

       The Woman-Hater was the earliest play of either of our dramatists to find its way into print. Drayton's lines, already referred to, about "sweet Palmeo" imply that Beaumont was already СКАЧАТЬ