In his tragedies Fletcher's prostitution to theatrical effectiveness admits
a recognition of the literary tradition. At least, the two which are the
result of his unaided efforts are composed with more care and with more
evidence of artistic responsibility than his other dramas. In
"Valentinian"[24] he turned from his usual sources and themes to those long
approved in pure tragedy, and found in Roman history a story of revenge and
lust. Though treating the material with great freedom, he unfortunately
followed his source in continuing the action beyond the murder of
Valentinian through the counter revenge on Maximus. The first two acts,
that tell of the attempted seduction of Lucina and her final ruin, are
among the best sustained tragic developments in Fletcher, and, in
comparison with many similar scenes in contemporary drama, testify to his
remarkable poetic gifts. But the later scheming and the overthrow of her
husband involve a conversion of character and a descent into absurd
improbability. In "Bonduca," Fletcher's invention moved unhampered.
Historical sources are used merely as hints and incentives. The stories of
Bonduca and Caratach are combined; and the interest in their tragic fates
diversified by the stories of Bonduca's daughters and their Roman lovers,
by the episode of the noble Poenius, by the pathos of the child Hengo, and
also by some gross and brutal comedy. All these interests are skillfully
interwoven and focused upon the great central scene of the battle. There is
stirring presentation of camp life, and throughout the action moves with
abounding spirit. The play is not tragedy at all if one judges it strictly
by Aristotle's precepts or by Shakespeare's example, or even in comparison
with the emotional tension of "The Maid's Tragedy." But it is an admirable
example of the blending of the romantic, historical, heroic, pathetic,
comic, and tragic, full of human nature as well as incident, conspicuous
for poetic expression as well as theatrical ingenuity, one of the
masterpieces of the romantic drama.
Public-domain text, read in full here on John Shaqi.
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