Francis Beaumont: Dramatist: A Portrait, with Some Account of His Circle, Elizabethan and Jacobean,; And of His Association with John Fletcher — John Stuart Mill — John Shaqi
Francis Beaumont: Dramatist: A Portrait, with Some Account of His Circle, Elizabethan and Jacobean,; And of His Association with John Fletcher
John Stuart Mill · en
Fletcher abounds in optatives: 'Would Gods thou hadst been so blest!'
'Would there were any safety in thy sex!' and the like. He is also given
to rhetorical interrogations and elaborate exclamations; more so than
Beaumont. He affects the lighter kind of oath, the appeal to something
sacred, in attestation--'Witness Heaven!' In entreaty--'High Heaven,
defend us!' Or in mere ejaculation--'Equal Heavens!' He varies his
asseverations so that they appear less bluntly profane: 'By my life!'
'By those lights, I vow!'--or more appropriate to the emergency: 'By all
holy in Heaven and Earth!' He swears occasionally 'By the Gods,' but not
so frequently as Beaumont, for there was a puritanical reaction after
Beaumont's death. In the early joint-plays he affects particularly 'all
the gods,' 'By _all_ those gods, you swore by!' 'By more than all the
gods!' In his imprecations he is even more sulphurous than Beaumont:
'Hell bless you for it!' 'Hell take me then!' 'Thou all-sin, all-hell,
and last all-devils!'
In summary let us say of Fletcher's diction, that its vocabulary is
repetitious; its sentence-structure, loose, cumulative, trailing: that
its larger movement is, in general, dramatic, conversational, abrupt,
rather than lyrical, declamatory, reflective. He writes for the
plot--forward: not from the character--outward. When he bestows a
lyrical or descriptive touch upon the narrative it is always incidental
to conversation or stage business. When he indulges in a classical
reminiscence he permits himself to embroider and bedizen; but usually
his ribbons (from a scantly furnished, much-rummaged wardrobe) are
carelessly pinned on. While capable, especially in tragedy, of
occasional long speeches, he prefers the brief interchange of utterance,
the rapid fire and spasm of dialogue.
FOOTNOTES:
[157] In the King's speech, 89-121.
[158] For particulars, see Chapter XXV, Sec. 7, below.
[159] As given in the _Camb. Engl. Classics_.
[160] G. C. Macaulay, _Francis Beaumont_, p. 45.
[161] Act I, Sc. 1, _Camb. Engl. Classics_, II, p. 286.
[162] Crane _MS._ (1625).
[163] _Cambridge_, II, p. 290.
[164] _Ibid._, p. 292.
[165] _Ibid._, p. 323.
[166] _Ibid._, p. 346.
[167] _Loyall Subject_, III, 1, end.
[168] _Hum. Lieut., Cambridge_, II, p. 290.
[169] John in II, 3, _Camb._, IV, p. 202.
[170] I, 3, _Camb._, III, p. 84.
[171] _Camb._, III, p. 170.
[172] _Ibid._, p. 172.
[173] _Engl. Studien_, XIV, 65.
[174] _Variorum, B. and F._, Vol. II, 1905.
[175] _Variorum, B. and F._, Vol. II, 1905.
[176] New York, Nov. 14, 1912.
CHAPTER XX
FLETCHER'S MENTAL HABIT