and when he describes the graces of spiritual love. And the Queen's thoughts upon death, though melodramatic, have something of the dignity of Beaumont's style. But the minds of the principal personages reflect not only the flashing current but the turbid estuaries of Fletcher's thought. The passion, save for Valerio's, is lurid, and the humour latrinal. To sketch the bestial even in narrative, however fleeting, is inartistic; to fix it on canvas is offensive; to posture it upon the stage is unpardonable. The last is practically what Fletcher has done here; and the wonder is that he appears to think that he is justifying virtue.

No; Fletcher had not the fibre of Beaumont even when he was writing with him; and he did not achieve "a manlier, sounder fibre," after Beaumont had ceased, and he had swung into the brilliant orbit which he rounded as sole luminary of the stage.

I object again,—and the reader who has followed the exposition of the preceding pages will, I hope, object with me,—to the dictum of a German writer of this latter day, that the reason of the degeneracy of Beaumont and Fletcher, ethically, "seems to lie in the narrowing of the drama from a national interest to the flattery of a courtly caste." Mr. More opines that such an explanation should not be pressed too far; and he suggests that one reason why "we are unable to comprehend many of the persons upon the stage of Beaumont and Fletcher" is that we are similarly unable to comprehend "the more typical men and women who were playing the actual drama of the age." So far as Fletcher's dramatis personae are concerned, there is truth in this; but why couple Beaumont with him? If you omit a character or two in The Woman-Hater, which was a youthful jeu d'esprit, you shall find very few incomprehensible figures among those of Beaumont's creation. And as to the German mentioned above, Dr. Aronstein, what "flattery of a courtly caste" can he possibly detect in Beaumont's satire upon favourites in The Woman-Hater; in that burlesque of bourgeois affectations, The Knight of the Burning Pestle (the Court, too, was still reading the literature there satirized); or in his Philaster, who was a rebel; or in his Amintor of The Maides Tragedy, whose fate hinged upon his shuffling subservience to a king, or in the King himself on whom God sends "unlookt-for sudden death," because of his lust; or in his King Arbaces, whose general has "not patience to looke on whilst you runne these forbidden courses"; or in his scenes of Cupid's Revenge, which scourge the vices of the Court; or in his Sir Roger and Mistress Abigail and her scornful Lady,—or in his Ricardo and Viola, who are just a lover and his lass, and have never dreamed of Court or King at all?

I wonder whether it may not be possible for us henceforth to give to Fletcher, and the whole Fletcherian syndicate,—the Massingers, Fields, Middletons and Rowleys, Dabornes, and the rest,—the praise and the blame for what they produced, but eliminate Beaumont from the award. One grows weary of the attribution to him of moral irresponsibilities and extravagances in art of which he was, in all that we have learned of his breeding, life, and mental habit the implicit opponent—very much like his brother Sir John,—and of the opposite of which he was in his poetic and dramatic output, as I have minutely demonstrated, the professed exponent. In the broad daylight of philological science and modern historical criticism we should no longer regard Beaumont-and-Fletcher as an indivisible pair of Siamese twins, constructing with all four hands at once the fabric of fifty-three plays, or even of ten, and tongue-and-grooving the boards with such diabolic deftness that each artisan shall for ever be credited with the merits and defects of both. It is, at any rate, time that the world of scholars,—and then the world of readers may follow,—render unto Cæsar the things that are Cæsar's.

As for Cæsar, we concede to him, John Fletcher, once for all, as he may be read in his independent work, by one even running, artistic virtues numerous and brilliant:[260] gaiety, wit, sprightly dialogue; mastery of stage-craft,—of all the devices of captivating plot and rattling 'business,' and all the conventions and theatrically legitimate clap-trap of dramatic types and humours, hallowed by success, adored by the actor, and darling to the public. We concede skill in the weaving of romantic complications, captivatingly cunning, and in the construction of situations irresistibly ludicrous; remarkable inventiveness of sensational adventure and spectacular scene and attractive setting; realism at every turn, and an ability to portray manners, varied and minute. Above all, we admire, and thankfully rejoice in, his smoothness of mechanism, his lightness of touch, his contrivance and manipulation of pure comedy—whether of manners or intrigue,—and in his world of characters, not only laughter-compelling, but endowed with humour themselves and sworn to the enthronement of the Spirit of Mirth.

On the other hand we read on every page of Fletcher's independent contribution to English drama what, perhaps, was not the man himself, but his dramaturgic pose—still for the world the essence of the Fletcher who ruled it from the stage:[261] we read his "shallowness of moral nature," his acquiescence in the ethical apathy and cynicism of the time; his indelicacy; his indifference to, if not irreverence for, the dramatic proprieties,—his subservience to popular taste and favour in an age when "the theatre had ceased to be the expression of patriotism and of the national life and had become the amusement of the idle gentleman and of such members of the lower classes as were not kept away by the Puritan disapproval of the stage." We witness with amusement but with self-reproach his presentation of characters superficial, and superficially refracting the evanescent vanities and heartless vices of Jacobean London, as if representative of actual and general life; his play of emotions feigned or sentimental; his violent contrasts, unnatural conversions, impossible revolutions of fortune; we discern the absence of subtle intuition, the failure to effect profound and lasting impression, the "lack of seriousness and of spiritual poise." We note, in the heroic-romantic dramas, improbability and extravagance; and, in the tragedies, such as Valentinian, a total disregard of the unity of interest,—just that muddling of motives of which the editor of The Nation has written,—and therefore the failure to realize unity of effect. There has been no moral sequence: the suspense has been distracted by the variety of emotions stirred. After the hours of strain to which the spectator has imaginatively subjected himself, the relief—what Aristotle calls the catharsis—is not forthcoming: because the intellect has not been clarified but fuddled; the will has not been braced; the feelings appropriate to tragedy—of pity and of fear—have not enjoyed an unthwarted, undiverted outflow. The faculties have been tantalized by manifold, deceptive, agonies of thirst. They should have been centred in one yearning, conducted to one clear spring of medicament, and purged by waters of truth, justice, and sympathy. From Fletcher's Valentinian and Bonduca despite the poetry and the onrush of the dramatic action there proceeds no calm, "all passion spent"; no beauty that is peace. And of the tragicomedies, The Loyall Subject and A Wife for a Month, this verdict may be even more readily pronounced.

Such are the excellences and defects of Fletcher. Let us give him all the glory of the former: but stay from burdening Beaumont, who had faults of his own, with responsibility for the latter,—with the unmorality or immorality or extravagant artistry of Fletcher when not associated with Beaumont. With the vices and virtues of Fletcher's rocket, bursting in stellar polychrome, Beaumont had nothing to do. To him justice can be accorded only if he, after these three centuries, be considered alone,—not for ever coupled with Fletcher, but spoken and thought of, and known, as dramatist, poet, man of far sounder fibre, and more virile marrow,—of superior insight, imagination, and art.

Next to Shakespeare, the most essentially poetic dramatist of the early Jacobean period was Francis Beaumont. He had not the learning of Jonson, nor the long career, nor the dictatorial position; nor did he attempt to rival him in comedy, or criticism. But his great poem, The Maides Tragedy is a thousand times more enthralling and poetic than Sejanus or Catiline. Shakespeare always excepted, the only author of tragedy in that day whose intuitions and lines of astounding splendour at all compete with, sometimes surpass, Beaumont's is Webster; but the fascination of his Duchess of Malfy is lurid, miasmatic, stupefying; that of The Maides Tragedy, breathless and heart-breaking.

In the drama of mingled motive, Jonson produced but one masterpiece that in poetry, valiancy of design, and portrayal of the ridiculous, equals Beaumont's A King and No King,—the Volpone; but that is not tragicomedy, and it drips venom. All that stands between A King and No King and artistic perfection is the dénouement. If the lovers had died, their struggle against temptation still continuing, their passion unfulfilled,—if in the moment of death, they had discovered that their union were no incest after all, Beaumont would have left behind him another consummate tragedy. As it is, to find a parallel in Jacobean literature, outside of Shakespeare, one must turn to Ford's 'Tis a Pity, She's a Whore. There again with poetic effulgence the problem of incest is dramatized; but how half-hearted the struggle, insincere the moral,—the poetry, purple and unconvincing!

In romantic comedy, between 1603 and 1625, others have produced plays which from the dramatic point of view equal Philaster,—Dekker, Heywood, Marston, Chapman, Middleton, and Rowley. Not all even of Shakespeare's romantic comedies come up to Philaster in literary or dramatic excellence; but only Shakespeare has written what surpasses it.

In the comedy that delineates humours, The Woman-Hater, as regards both poetry and technique, falls below several plays of Dekker, Chapman, Marston, Middleton, and Jonson, and below the earlier efforts of Shakespeare; but in characterization it is as good as some of Shakespeare's. There is no comic figure in Love's Labour's Lost, the Two Gentlemen of Verona, or the Comedy of Errors, that surpasses Beaumont's Hungry Courtier; and the humorous dialogue and the prose as a whole of The Woman-Hater are more natural, and more intelligible to the modern ear. With Shakespeare's later comedies that in any degree avail themselves of the 'humours' element, or with Jonson's masterpieces in this kind, The Woman-Hater, of course, can not be placed in comparison. But if for the nonce, we consider Beaumont's Knight of the Burning Pestle, merely in its 'humours' aspect, we must acknowledge that its characters are as clear-cut, as typical of the time and as provocative of laughter as those of Every Man in his Humour, which for all its historic significance most people nowadays read, or might read, with a yawn; and that it is less artificial in construction, more human in motive and character, more modern in mirth than The Silent Woman,—even though the object of its ridicule be now caviare to the general.

To set Beaumont's burlesque as a comedy of manners beside any of Shakespeare's comedies from 1594 down, would be futile, but of the early Shakespearian plays mentioned above none shakes more with fun than The Knight of the Burning Pestle, and not one gives us the flavour of London,—its citizens, their affectations and ideals, their reading, habits and life,—or of England, that the Knight affords in every scene. If Shakespeare instead of writing, say, the Comedy of Errors had written The Knight of the Burning Pestle, scholars would now be flooding us with Variorum editions of it, women's literary clubs would be likening him with fervour to Cervantes, and the public might be so well educated to its allusions and ideas that our Hebrew emperors of the theatrical world and arbiters of dramatic vogue would be "starring" it through the country to the delight of audiences that wisely make a show of understanding and enjoying everything that Shakespeare wrote. To what unrealized extent the fate of plays hangs upon the tradition of the green-room, the actor's whim, the manager's enterprise or ignorance, and luck, is material for an essay in itself. I am not asserting that The Knight of the Burning Pestle pretends to poetry, as do all of Shakespeare's plays; but that for chuckling and side-long mirth, and for manners and insight into the life of a rarely interesting period, it is fine comedy, while as burlesque it is equalled by few of the kind in our language and excelled by none.

It may be true that burlesques lose their flavour with the passing of their victims. But that does not hold true of the drama of problems perennially recurring and of emotions common to men of every age and clime. Of such drama are The Maides Tragedy and A King and No King. They are not antiquated. And I doubt whether they are stronger meat than some of Shakespeare's plays, all of which are more or less 'arranged' before they are placed upon the modern stage. As to strong meat, the difference between the Elizabethan taste and the present Georgian is more a matter of variety than of flavour. Our forefathers liked their venison in gobbets, for three hours at a stretch, and washed it down with a tun or two of sack. The theatre-going public to-day likes its game just as high, but it varies the meal with other dishes as highly seasoned,—and washes it down with a foreign-labeled little bottle of champagne. Our ancestors called a depraved woman by a brief bad name, and put it into poetry. We denominate her, if at all, by some euphemistic circumlocution, in prose; but we none the less throng the theatre to see Dalilah play, and we follow with apparent gusto her sinuous enticements upon the stage. We rejoice in problem-plays more erotic, and far more subtly perilous, than those which Shakespeare and Beaumont beheld. We are of an age of uplift, and meticulous reform. We would eliminate fornication and adultery; but not from our plays. They teem with—suggestion. There is nothing neurotic, nothing insidious in The Maides Tragedy and A King and No King. The grave of sin is wide open; and the spade that digged it stands in plain view, and is called a spade. On the whole I had rather have the Anglo-Saxon bluntness and gleaming poetry of the Beaumont than the whitewashed epigram and miching-mallecho of the twentieth-century play I saw last night. There is no reason why, properly cut and staged, Beaumont's greatest plays should not yield delight to-day. And as for the reader why should he not turn back to "the inexhaustible treasures" of entertainment offered by these plays. "They were," as says Mr. Paul Elmer More, "they were to the Elizabethan age what the novel is to ours, and I wonder how many readers three centuries from now will go back to our fiction for amusement as we to-day can go back to Beaumont and Fletcher."

I began this book by quoting from an historian of the drama of marked repute: "In the Argo of the Elizabethan drama—as it presents itself to the imagination of our own latter days—Shakespeare's is and must remain the commanding figure. Next to him sit the twin literary heroes, Beaumont and Fletcher—more or less vaguely supposed to be inseparable from one another in their works." And also from the last great poet of the Victorian age: "If a distinction must be made between the Dioscuri of English poetry, we must admit that Beaumont was the twin of heavenlier birth. Only as Pollux was on one side a demigod of diviner blood than Castor can it be said that on any side Beaumont was a poet of higher and purer genius than Fletcher; but so much must be allowed by all who have eyes and ears to discern in the fabric of their common work a distinction without a difference." If I have succeeded in showing that in the fabric of their common work the distinction between Beaumont and Fletcher is measured by a wide and clearly visible difference, I shall be happy. Others, to whom I have repeatedly expressed my indebtedness even when disagreeing with particulars of their criticism, have cleared the way. If in this book anything has been added to their services that may help the world to distinguish these two dramatists not only hand from hand but mind from mind, and to see Beaumont plain, as I see him in the long gallery of his contemporaries, I shall be happier still; but most amply rewarded if, for the future, it may be fittingly recognized not only that Beaumont was the twin of heavenlier birth—the Pollux, but why he was. Then, perhaps, the world of sagacious readers may turn from talking always of Beaumont-and-Fletcher, and protest occasionally and with well-informed reason in the name of Francis Beaumont alone.

APPENDIX

GENEALOGICAL TABLES

TABLE A.

PLANTAGENET, COMYN, BEAUMONT, AND VILLIERS.

TABLE B

NEVIL, HASTINGS, BEAUMONT, TALBOT

TABLE C.

BEAUMONT. PIERREPOINT. CAVENDISH, TALBOT.

TABLE D

BEAUMONT, VAUX, TRESHAM, CATESBY

TABLE E

FLETCHER, BAKER, SACKVILLE

INDEX

INDEX

(The page-numbers refer to the foot-notes as well as to the main body of the text.)

• Abington, Mrs., the actress, 377
• Abington (Habington), Mrs., sister of Lord Monteagle, 57
• Abuses Stript and Whipt, 135
• actors, lists preceding plays, 229
• Ad Comitissam Rutlundiae, 173
• Addison, Joseph, 188
• Aeschylus, 200
• afterthought-parentheses, 265, 350
• Alchemist, The, 110, 325, 334, 336, 343
• Alden, R. M., editions of The Knight and A King and No King, 110, 117, 234, 252, 258, 287, 300, 311, 312, 318, 361
• alliteration, 259
• All's Well that Ends Well, 79, 115, 390, 391, 392, 393
• Amadis de Gaule, 313, 322, 327
• Amends for Ladies, 302, 304, 334
• Anatomy of Melancholy, The, 186
• Anton, Robert, 328
• Antony and Cleopatra, 75, 79, 116, 283, 389
• Apocrypha, The, 369
• apothegms, 289
• Arcadia, 106, 108, 111, 133, 158, 159
• Ariosto, 34
• Aristophanes, 197, 230
• Aronstein, P., 407
• Ascham, Roger, 23
• Ashby-de-la-Zouch, 10, 23, et passim
• Aston, Sir Walter, 166, 167
• Astrée, D'Urfé, 89-90, 274
• 'Astrophel,' 166
• As You Like It, 159, 345, 390, 392
• Aubrey, John, Brief Lives, ed., A. Clark, 32, 95, 137, 153, 219
• Bacon, Sir Francis, 35, 36, 37, 125f., 129, 146, et passim
• Bacon, Sir Nicholas, and Anthony, 35, 64, 68
• Baker, Sir John of Sissinghurst, Kent, 24, 65ff.;
  • Cicely, Countess of Dorset, 66, 69, 70;
  • Cicely, Lady Blunt, 69, 70;[428]
  • Grisogone, Lady Dacre, 69, 70, 178
• Baker family, 71, 137
• Baker, Sir Richard, 65, 66
• Baker, Richard, the historian, 67, 70
• Bancroft, Bishop, 64, 216
• Bancroft, Thomas, Two Bookes of Epigrammes and Epitaphs, 1639, 20
• Bandello, Thomas, 392
• Banke-Side, 95-96, 114, 170
• Barkstead, William, 335
• Barrons Wars, the, 42
• Basse, William, 40, 134, 199, 200
• Battle of Bosworth Field, The, 184, (22)
• Baudouin, Le Curieux Impertinent, 332
• Beau Manor, 10;
  • "Beaumanoir," 12
• Beaumont and Fletcher, portraits of, 190-192, 217-219;
  • collaboration of (in general), 3-9, 223-416;
  • the problem, 225-233;
  • critical apparatus, 233-235;
  • folios, 225-229, 236-239;
  • quartos, 239-241, and under individual plays;
  • editions, 217, 234, 244, 271, 318, 324, 338, 349, 359, 361, 368, 371, 377;
  • delimitation of the field, 236-242;
  • versification, 243-260;
  • diction of Fletcher, 260-277, of Beaumont, 281-290;
  • mental habit of Fletcher, 277-280, of Beaumont, 281-290;
  • authorship of Foure Playes, Love's Cure, The Captaine, 300-306;
    • of the Woman-Hater, 73, 307;
    • of The Knight of the Burning Pestle, 80, 310;
    • of The Coxcombe, 337;
    • of Philaster, 345;
    • of The Maides Tragedy, 349;
    • of Cupid's Revenge, 359;
    • of A King and No King, 361;
    • of the Scornful Ladie, 374;
  • influence upon Shakespeare (?) 386, upon the drama, 396;
  • Beaumont and Fletcher compared, 399-411
• Beaumont, Anthony, 160
• Beaumont, Barons and Viscounts de, 10-12
• Beaumont's diction, 281ff.
• Beaumont, Elizabeth, Lady Vaux, 15, 46
• Beaumont, Elizabeth, sister of the dramatist, Mrs. Seyliard, 43, 45, 46, 70, 159, 176, 187
• Beaumont, Elizabeth, daughter of the dramatist, 180, 187
• Beaumont, Frances, posthumous daughter of the dramatist, 187ff.
• Beaumont, Francis, the dramatist:
  • his family, early years in Grace-Dieu, Oxford, 10ff.;
  • at the Inns of Court, earliest poems, etc., 29ff.;
  • the Vaux cousins and the Gunpowder Plot, 46ff.;
  • some early plays of, 72ff.;
  • period of partnership with Fletcher, 95ff.;
  • relations with Shakespeare, Jonson, and others in the theatrical world, 114ff., 124ff., 145ff.;
  • The Masque of the Inner Temple, 124-144;[429]
  • the Pastoralists, and other contemporaries at the Inns of Court, 131-144;
  • an intersecting circle of jovial sort, 145-149;
  • the Countess of Rutland (Elizabeth Sidney), 150ff.;
  • his marriage, death, surviving family, 172ff.;
  • personality and contemporary reputation, portraits, 190ff.;
  • versification, 246ff., 281ff.;
  • stock words, phrases, and figures, 282ff.;
  • lines of Inevitable Poetry, 287;
  • his mental habit, 291ff.;
  • his dramatic art, adaptation, etc., 378ff.;
  • Did the Beaumont "romance" influence Shakespeare? 386ff.;
  • not a leader in decadence, 396-401;
  • Beaumont compared with Fletcher, 401-411;
  • and with other dramatists, 411-415
• Beaumont, Francis, his Poems, 39, 40, 150ff., 172-174, 183, 230, 251, 292, 295, 298, 330
• Beaumont, Francis, the Justice, father of the dramatist, 15-19, 21, 24, 29
• Beaumont, Sir Henry, brother of the dramatist, 16, 18, 29, 44, 45, 99
• Beaumont, Sir Henry, of Coleorton, 19, 160
• Beaumont, Sir John, brother of the dramatist, 16, 18, 21, 22, 25, 26, 29, 38-40, 42-45, 59-61, 116, 132, 146, 150, 154, 159, 162-164, 166, 180, 182, 184-186, 195
• Beaumont, John, Master of the Rolls, 12-14, 59-60
• Beaumont, Maria, Lady Villiers, Countess of Buckingham, 19, 160-163
• Beaumont, Sir Thomas, 45, 162
• Beaumont's versification, 246ff.
• Beeston's Players, 314
• Beggers Bush, The, 98, 236, 237, 378
• Bell, H. N., 14
• Bellman of London, The, 98
• Belvoir Castle, 154
• Berkenhead, John, 208
• Betterton, Thomas, 366
• Biographia Dramatica, The, 233
• Birch, Mem. of Q. Elizabeth, 68
• Blackfriars Theatre, the, 80, 81, 85, 89, 96, 97, 102, 103, 104, 105, 114, 119, 122, 136, 179, 207, 314, 316, 317, 319, 342, 343, 368, 370, 373
• Blackwell's Treatise on Equivocation, 53
• Blaiklock, Lawrence, 39, 40, 150, 165, 295
• Blue Boar Inn, 22
• Boas, F. S., ed. of Philaster, 349
• Boccaccio, 101, 334, 392
• Bolton, Edmund, 185, 194
• Bond, R. Warwick, 367, 368, 371, 374;
  • ed. of The Scornful Ladie, 377
• Bonduca, 236, 238, 278, 378, 410
• Bosworth, battle of, 22, (184)
• bouleversements, 364[430]
• Boyle, R., 234, 252, 254, 300, 302, 308, 374
• Bread-street, 99, 113, 203
• Brett, Cyril, Drayton's Minor Poems, 191
• Bridal, The, 359
• Britain's Ida, Phineas Fletcher, 64
• Britannia's Pastorals, 132-144
• Broadgates, 29
• Brome, Richard, 92, 168, 212, 213
• Brooke, Christopher, 38, 119, 136, 145, 147-149
• Brookesby, Bartholomew, 48, 57;
  • Edward, 47
• Browne, William, 38, 40, 131-144, 153, 202, 214
• Browning, Robert, 183, 246
• Brydges, Egerton, 233
• Buc, Sir George, 349
• Buckingham, George Villiers, Duke of, 19, 60, 159-164, 185
• Bullen, A. H., art. John Fletcher (D. N. B); gen. editor, Variorum Beaumont and Fletcher, 203, 234, 271, 272, 312, et passim
• Burbadge, Cuthbert, 103, 342, 343
• Burbadge, Richard, 102, 103, 114, 118, 122, 136, 154, 316, 317, 358
• Burre, Walter, 81, 319, 320, 322, 323
• Burton, William, 16, 186
• Bury-Fair, 96, 220
• Bussy D'Ambois, 399
• Butler, James, Duke of Ormonde, 188
• cadences, conversational and lyrical, 247
• caesurae, 244ff.
• Cambridge English Classics, edition of Beaumont and Fletcher, 244, 263-270, et passim
• Camden, William, 137, 149, 178, 182
• Camden Miscellany, The, 66
• Campion, Father, 46
• Capricious Lady, The, 377
• Captaine, The, 98, 111, 176, 236, 240, 306, 378, 383
• Cardenio or Cardenna, 111, 119
• Carey, Giles, 114, 122, 336
• Carleton, Mistris, 125
• Carr (Ker) Robert, Earl of Somerset, 74, 75, 179, 372
• Cartwright, William, 209, 232
• Casaubon, Isaac, 182
• Catesby, Robert, 49, 50-53, 57, 58
• Catholics, and the "Catholic Cousins" of Beaumont, 46ff., 179
• Catiline, 120, 154, 411
• Cavendish, Henry, 17, 24
• Cavendishes, the, 16, 17, 38, 165
• Cavendish, Sir William, first Duke of Newcastle, 165
• Centurie of Praise, 200
• Cervantes, see Don Quixote
• Challoner, Missionary Priests, 16
• Chalmers, A., 185, 233
• Chamberlain, John, 125, 126, 155f.
• Chancery, Inns of, 29, 30, et passim;
  • and see Inns of Court[431]
• Chances, The, 64, 211, 230, 236, 243, 244, 263, 267, 268, 279, 403
• Chapel Players, the, 32
• Chapman, George, 85, 86, 87, 98, 102, 116, 122, 124, 125, 132ff., 135, 142, 154, 182, 189, 194, 198, 200, 202, 203, 214, 317, 328, 329, 391, 396, 399, 412
• Charles I, 185, et passim
• Charles II, 358
• Charles, Duke of Byron, The Tragedie of, 317
• Charles, Prince of Wales, 371, 372
• Charnwood Forest, 10, 11, 13, 18, 20, 43, 151, 159
• Chaucer, Geoffrey, 37
• Chaucer, Speght's, 24, 178
• Cheapside, 99, 114, et passim
• Child, H. H., 43
• "chorizontes," the, 9
• Christ's Victorie, Giles Fletcher, 64
• Cicely Tufton, see Rutland
• Cinthio, 392
• Clarendon, Lord, 169
• Clark, Andrew, 147, 148, 192
• Cleves wars, the, 368-370, 372, 373
• Clifford, Anne, Countess of Dorset, of Pembroke and Montgomery, 192
• Clifford's Inn, 131
• Clifton, Sir Gervase, 166
• Clifton, Lady Penelope, 165f., 174, 202
• Cockayne, Sir Aston, 168, 219, 226, 228, 233, 377
• Coke, Sir Edward, 52, 58, 148, 162
• Coleorton, 12, 19, 45, 160, et passim
• Coleridge, S. T., 5, 397
• Collier, J. P., 102, 220, 233
• Collins, Peerage of England, 14, 17, 50, et passim
• Comedy of Errors, A, 35, 393, 412, 413
• Commendatory Verses, 94, 198, 229, 230, et passim
• Concerning the True Forms of English Poetry, 184
• Condell, Henry, 103, 120, 122, 343, 402
• Congreve, William, 188
• Convivium Philosophicum, 145-149, 203
• Conyoke or Connock, 149
• Cook, Alexander, 122
• Cooke, W., 377
• Coke, Sir Edward, 52, 58
• Corbet, Bishop, 181, 195
• Coriolanus, 389
• Coronation, The, 229, 237
• Coryate, Tom, 99, 149
• Cotton, Charles, the elder, 98, 168-170, 226-228
• couplet, 'heroic,' 252
• Cowley, Abraham, 184
• Coxcombe, The, 8, 87, 96-101, 103, 106, 111, 202, 208, 228, 236, 240, 273, 286, 287, 294, 296, 298, 311, 332-341, 370, 378, 383, 396, 400
• Cranefield, Arthur, 149
• Critics of Beaumont and Fletcher, 234
• Croke, Sir John, Charles, and Unton, 138
• Cromwell, Oliver, 74, 138, 170
• Crowne of Thornes, The, 184
• Cunliffe, J. W., 35, 37[432]
• Cupid's Revenge, 8, 111-112, 159, 237, 239, 240, 283, 285, 288, 294, 299, 305, 314, 359ff., 370, 378, 381, 384, 386, 387, 388, 389, 396, 407
• Curious Impertinent, The, El Curioso Impertinente, Le Curieux Impertinent, 332, 334, 335
• Custome of the Countrey, The, 236
• Cymbeline, 344, 345, 386-395
• Cynthia's Revels, 85, 96
• Cyropædeia, 109
• Daborne, Robert, 122, 239, 379, 407
• Damon and Pythias, 32
• Daniel, Joseph, 149
• Daniel, P. A., 349, 359
• Daniel, Samuel, 142, 194
• Darley, G., Works of Beaumont and Fletcher, 25, 181, 233
• D'Avenant, William, 82, 307, 308, 350
• Davies, John, of Hereford, 105, 133, 142, 145, 146, 209, 342, 343, 346, 366
• Day, John, 102, 122, 159, 314, 325
• Dekker, John, 98, 102, 122, 211, 412
• Denham, Sir John, 184
• Description of Elizium, Drayton, 191
• Devereux, Lady Penelope, 166
• diction, 260ff., 275f., 281ff., and see Beaumont and Fletcher
• Diego Sarmiento, Don, Count Gondomar, 371ff.
• Digby, Sir Everard, 48, 50, 52, 53, 57
• Discourse of the English Stage, 386
• disputed plays, 300ff.
• Distrest Mother, The, 186
• Divine Poems, Drayton, 191
• Dolce, Ludovico, Giocasta, 35
• Don Diego, see Sarmiento de Acuña
• Donne, John, 38, 98, 148, 149, 150, 169
• Don Quixote, relation to The Knight of the Burning Pestle, esp. 321-331;
  • also 80, 120, 320, 332f., 413
• 'Doridon,' 140ff.
• Douay, 369
• Douthwaite, W. R., Gray's Inn, etc., 30ff.
• Double Marriage, The, 6, 236
• Drake, Sir Francis, 37, 64, 138, 216
• Dramatic Miscellany, Davies, 366
• Drayton, Michael, 21, 26, 39, 40, 41, 42, 43, 44, 72, 98, 116, 122, 132ff., 137, 145, 153, 182, 185, 187, 191, 192, 194, 201, 202, 209
• Drummond, William, of Hawthornden, 84, 90, 152, 193, 194, 202, 230
• Dryden, John, 71, 72, 121, 188, 233, 358, 365
• Duchess of Malfi, The, 411
• Dugdale, G., 131
• Duke, H. E., Gray's Inn, 34ff.
• Duke of Milan, The, 136
• Duke of York, The, (Prince Charles's) Players, 335, 336
• D'Urfé, Marquis, 89-90, 274[433]
• Dutch Courtezan, The, 399
• Dyce, Alexander, Works of Beaumont and Fletcher, 16, 19, 96, 195, 233, et passim
• Earle, John, Bishop, 156, 196-198, 209, 230, 241, 346, 385
• Eastward Hoe, 73, 79, 328
• Editions, also Folios and Quartos, see Beaumont and Fletcher
• Edwardes, Richard, 32
• Edwards, Jonathan, 25
• Eglogs, a revision of Idea, the Shepheard's Garland, Drayton, 42, 187
• Ekesildena, Catherine, 186
• Elder Brother, The, 237, 272
• Elegies, Brooke, 136
• (Certayn) Elegies—with Satyres and Epigrames, Fitzgeffrey, 202
• Elegy on the Death of the Virtuous Lady Elizabeth, Countess of Rutland, 156, 251
• Elements of Armories, Bolton, 195
• Elizabeth Beaumont Seyliard, see Beaumont, Elizabeth
• Elizabeth, Countess of Rutland, see Sidney, Elizabeth
• Elizabeth, Princess, 33, 52, 110, 124, 139, 149
• Elizabeth, Queen, 67
• Elton, Oliver, Michael Drayton, 43, 167, 192
• Endimion and Phoebe, 41
• end-stopped lines, 243ff.
• English Palmerin, see Palmerin
• Epicoene, 103, 120, 322, 324, 335, 369, 413
• Epigrams, Jonson, 121, 195, 203
• Epistle Dedicatorie, Shelton, 321, 323
• Epistle to Henery Reynolds, Drayton, 201
• Epithalamium, Wither, 135
• Equivocation, Blackwell's treatise, 53
• Essay of Dramatick Poesie, Dryden, 233, 358
• Ethelwolf, oder der König Kein König, 367
• Euripides, 35, 200, 207
• Evans, Henry, 80, 102, 317, 342
• Evelyn, John, letter to Pepys, 218
• Every Man in his Humour, 92, 413
• Every Man out of his Humour, 32, 327
• Examination of his Mistris' Perfections, 172-174
• extra syllables, 243
• Faire Maide of the Inne, The, 236, 238, 378
• Faithful Friends, The, 237, 378
• Faithfull Shepheardesse, The, 21, 65, 73, 83-88, 90, 93, 139, 166, 171, 216, 231, 237, 240, 247, 249, 252, 261, 263, 264, 265, 266, 270, 277, 280, 302, 304
• False One, The, 236
• (Of The) Famous Voyage, 203
• Farquhar, George, 188
• Fauchet, Thierry, 109
• Fawkes, Guy, 49, 52, 56
• feet, trisyllabic, 243[434]
• Fellows and Followers of Shakespeare, The, Gayley, 233, et passim;
  • see Gayley
• Fenner, Sir John, 130
• Ferrar, William, 138
• Fidele and Fortunio, 392
• Field, Nathaniel, 83, 84, 85, 86, 87, 114, 122, 211, 214, 239, 251, 272, 300, 302, 303, 304, 305, 335, 342, 343, 360, 379, 407
• Fifty Comedies and Tragedies, 288
• Fitzgeffrey, Henry, Elegies, Satires, and Epigrams, 202
• Fleay, F. G., Hist. Stage, Chron. Engl. Drama, etc., 4, 8, 41, 74, 84, 233, 234, 238, 252, 300, 303, 308, 316, 318 et passim
• Flecknoe, Richard, 386, 397
• Fletcher, John, ("I. F.") 40, 195;
  • his family, his youth, 62ff.;
  • some early plays of, 82ff.;
  • period of partnership with Beaumont, 95ff.;
  • relations with Shakespeare, Jonson, etc., 114ff., 124ff., 145ff.;
  • later years, portraits, 211ff.;
  • his versification, 243ff.;
  • his diction, 260ff.;
  • stock words, phrases, and figures, 270ff.;
  • his mental habit, 277ff.;
  • the Fletcher of the joint-plays, 383ff.;
  • his dramatic art, 383-385, 399-411
• Fletcher, criteria, 243ff.; 260ff.;
  • see Beaumont and Fletcher, diction, verse, Ye-test, etc.
• Fletcher, Richard, Bishop, 62-68
• Fletcher, Dr. Giles, 64, 68;
  • Giles, the younger, 64
• Fletcher, Phineas, 64
• 'Fletcherian Syndicate, the,' 379, 407
• Flowers, The, 36, 125
• Folio, First, Beaumont and Fletcher's Comedies and Tragedies, 1647, (35 Plays), 236
• Folio, Second, Fifty Comedies and Tragedies, 1679 (53 Plays), 237
• Ford, John, 211, 412
• Forrest, The, Jonson, 152
• Fortescue, George, 186
• Foure Playes, or Morall Representations, in One, (see also Triumphs), 87, 236, 240, 251, 272, 301-305, 378, 386, 388, 389
• Foure Prentises, The, 204, 325
• Frederick, the Elector Palatine, 33, 36, 110, 124
• Fuller, Thomas, Worthies, 67, 108
• Gardiner, Robert, 337
• Gardiner, S. R. Hist. Engl., and Prince Charles, 44, 49, 74, 372ff., et passim
• Gardiner, Thomas, 138
• Garnet, Father Henry, 47, 51-54, 56-59
• Garrick, David, 366
• Gascoigne, George, Supposes, 34, 35, 37
• Gayley, C. M., The Fellows and Followers of Shakespeare, Part Two, in Rep. Eng. Com., Vol. III, now in press, 233, 300, 385, 408, 409, et passim[435]
• Gentleman Usher, The, 391, 399
• Gerard, Father John, 47-56, 165
• Ghost of Richard III, Brooke, 136
• Giffard, Maria, Lady Baker, Mrs. Fletcher, Lady Thornhurst, 65-71
• Gilbert, Adrian, 156
• Giocasta, Ludovico Dolce, 35
• Gismond of Salerne, 37
• Globe Theatre, the, 79, 97, 103, 105, 114, 118, 120, 122, 144, 179, 280
• Glover, A, and Waller, A. R., editors of Camb. Engl. Class., Beaumont and Fletcher, 244, 263-270, et passim
• Golden Remains, The, 150
• Goodere, Sir Henry, 43, 148;
  • Francis, Anne, 43
• Goodwin, Gordon, 134, 139
• Gorboduc, 37, 70
• Grace-Dieu, 13, 17, 18, 20, 22, 45, 61, 72, 95, 98, 151, 159, 391, et passim
• Gray's Inn, 33, 34, 35, 37, 124, 125, 130f.
• Greene, Robert, Menaphon and Pandosto, 26, 159, 387, 392
• Greenstreet Papers, The, 103, 119, 136, 319
• Greg, W. W., 83, 159, 238, 272
• Grey Friars, at Leicester, 22
• Grey, Lady Jane, 23, 63, 66
• Grosart, A. B., art. in D. N. B., Sir John Beaumont's Poems, 16, 185, 187, 195, et passim
• Gunpowder Plot, the, 46-61, 73, 138, 164
• Gurlin, Nat., 202
• Guskar, H., 88
• Gwynn, Nell, 366
• Hakluyt, Richard, 182
• Halliwell-Phillipps, J. O., 342
• hamartia, 354, 358
• Hamlet, 79, 116, 117, 286, 389
• Harcourt, the Rt. Hon. Lewis, 190
• Harleian MS. of Fletcher, 195
• Harington, Sir John, 63, 67
• Harris, John, 212
• Hasted, Hist. Kent, 50, 69, 71, 176, et passim
• Hastings, Edward, second Lord, 14;
  • Elizabeth (grandmother of the dramatist), 13, 14;
  • Sir Henry, 48, 165;
  • Lady Mary, 14;
  • William, first Lord, 14, 23;
  • Sir William, 14
• Hastings, Earls of Huntingdon: George, first Earl, 13, 14;
  • Francis, second Earl, 13-15, 23, 24, 46;
  • Henry, third Earl, 14, 24;
  • George, fourth Earl, 48;
  • Henry, fifth Earl, 38, 164, 165
• Hatcher, O. L., John Fletcher, A Study in Dramatic Method, 231, 232, 233, 300, 408, 409, et passim;
  • in Anglia, 89
• Hawkins, Sir Thomas, 138, 185
• Hele, Lewis, 130
• Heming, John, 103, 118, 120, 136, 342, 343
• Hemings, John, see Heming
• Henry IV, 110, 115[436]
• Henry VIII, 120, 179
• Herbert, Mary, Countess of Pembroke, 42
• Herbert, William, third Earl of Pembroke, 133, 153
• Herford, C. H., 287
• Herodotus, 109
• Heroical Adventures of the Knight of the Sea, 328
• Herrick, Robert, 169, 170, 350, 361
• Herring, Joan, 220
• Hesperides, Herrick, 169, 170
• Heyward, Edward, 137
• Heywood, Thomas, 122, 204, 325, 331, 399, 412
• Hierarchie of the Blessed Angells, The, 204
• Hill, H. W., 159
• Hill, Nicholas, 203
• Hills, G., 337
• Histoire de Celidée, Thamyre, et Calidon, 89
• Historical Portraits (Oxford), 190, 234ff.
• Histriomastix, 397
• History of Cardenio, by Fletcher and Shakespeare, 119
• Hodgets, John, 40
• Holinshed, 392
• Holland, Aaron, 318
• Holland, Elizabeth, 62, 66
• Holland, Hugh, 98, 148, 149
• Holme-Pierrepoint, 16, 17
• (Upon an) Honest Man's Fortune, 8, 144, 176, 215, 220, 236, 238, 280, 378
• Hoskins, John, his Convivium Philosophicum, 146ff., 149, 203
• Howard, Henry, 349, 361
• Howard of Walden, Lord, 321
• Howe, Josias, 209
• Hughes, Thomas, Misfortunes of Arthur, 35
• Humorous Lieutenant, The, 236, 243, 265, 268, 278, 279, 401-403
• Huntingdon, see Hastings
• hyperbole, 285
• Hypercritica, Bolton, 194
• Idea, the Shepheard's Garland, Eglogs, Drayton, 42
• If You Know Not Me, You Know Nobody, 331
• Ile of Guls, 159
• Imogen, Innogen, 392
• Inderwick, F. A., Calendar of Inner Temple Records, 30, 131, et passim
• In Laudem Authoris, 40, 134
• Inner Temple, 18, 29, 33, 37, 99, 124ff., 129, 131, 137, 138, 139, 162
• Inner Temple Records, 29-31, 131, 139, et passim
• Inns of Court and Chancery, 29, 32, 37, 118, 135, 145, et passim
• Insatiate Countess, The, 399
• Island Princesse, The, 236, 278
• Isley, Ursula, wife of the dramatist, 175-178, 180, 187
• Isleys, the, 175-177, 186
• iteration, 259
• James I, Progress of 1603, 44, 60, 74, 77, 91, 161, 162, 164, 165, 372
• joint-plays, 252ff., 400ff., etc.
• Jones, Inigo, 125, 145, 147, 148[437]
• Jonson, Ben, 3, 5, 9, 24, 32, 52, 72, 82, 84, 85, 86, 96, 97, 98, 99, 100, 101, 102, 103, 110, 111, 114ff., 122, 124, 132ff., 136, 137, 142, 145, 148, 149, 150, 152, 153, 154, 157, 169, 170, 174, 182, 185, 191, 193, 199, 200, 201, 205, 209, 211, 213, 214, 231, 272, 322, 327, 328, 329, 334, 335, 336, 342, 343, 369, 411, 412
• Jovius, Paulus, 78
• Juby, Edward, 114
• Julius Caesar, 108, 110
• Ker (Carr) Robert, Earl of Somerset, 74, 75, 179, 372
• Keysar, Robert, 80, 81, 315, 318, 320, 323
• Kinwelmersh, Francis, 35
• King, Edward, Milton's 'Lycidas,' 24
• King and No King, A, 7, 8, 37, 92, 109-110, 112, 121, 145, 146, 174, 205, 237, 239, 241, 252, 255, 258, 259, 273, 275, 288, 293, 294, 307, 308, 311, 346, 361-367, 378, 381, 382, 384, 386-396, 400, 401, 411, 414, 415
• King Lear, 159, 283
• King's Players, the, 38, 97, 102, 103, 105, 109, 110, 114, 119, 120, 122, 124, 136, 211, 306, 315, 316, 343, 345, 349, 360
• King's Bench, 138
• Kirkham, Edward, 118, 136
• Knight of Malta, The, 211, 236, 238, 239, 378
• Knight of the Burning Pestle, The, 7, 41, 73, 79-81, 88, 93, 100, 112, 115, 171, 204, 237, 240, 273, 285, 310-332, 378, 382, 385, 407, 413, 414
• Knight of the Burning Sword, The, 325
• Knight of the Sunne and His Brother Rosicleer, The, 327
• Knole Park, Kent, 70, 187, et passim
• Knowles, Sheridan, 359
• Koeppel, E., 117
• Kyd, Thomas, 26, 200, 204, 285, 286, 313
• Lady Elizabeth's Players, 314
• Lamb, Charles, 233, 397
• Langbaine, G., 233, 332
• Lansdowne MS., 200
• Lawes of Candy, The, 236, 238, 378
• Leland, John, Itinerary, 10, 11, 154, 160, et passim
• Lennard, Sir Henry, twelfth Lord Dacre, 70, 71, 178
• Leonhardt, B., 117
• Letter to Ben Jonson, 97-101, 193, 251, 337
• Lincoln's Inn, 32, 124f., 135, 136, 145, 148
• Lisle, Sir George, 204, 231, 361
• Little French Lawyer, The, 236
• Lodge, Thomas, 159, 392
• Love Lies a-Bleeding, 103, etc., see Philaster
• Lovell, John, Lord, 22, 23
• Lovers Progresse, The, 236
• Loves Cure, 236, 240, 305, 378
• Love's Labour's Lost, 392, 412
• Loves Pilgrimage, 236, 237, 238, 378
• Lowin, John, 122, 214, 402[438]
• Loyall Subject, The, 211, 236, 243, 268, 278, 410
• Luce, Morton, 393
• Lyly, John, 26, 200
• Macaulay, G. C., Francis Beaumont, a Critical Study; Beaumont and Fletcher in Camb. Hist. Eng. Lit. 89, 108, 117, 226, 234, 252, 265, 287, 300, 302, 305, 308, 312, 337, 374, 409
• Macbeth, 286
• Macready, W. C., 359
• Mad Lover, The, 236, 279
• Maide in the Mill, The, 236
• Maides Tragedy, The, 6, 7, 107-109, 117, 121, 124, 159, 230, 232, 234, 237, 239, 240, 241, 252, 255, 258, 273, 285, 288, 289, 292, 308, 346, 349-359, 361, 378, 381, 382, 384, 386-395, 398, 400, 405, 407, 411, 414, 415
• Malcontent, The, 399
• Malone, Edmund, 233
• Manners, Lady Katharine (Villiers), Duchess of Buckingham, 159, 162, 163
• Manners, Roger, see Rutland
• Manningham, John, 32
• Manverses, the, 16-18
• Manwood, Thomas, 136
• Mari coccu, battu et content, Le, 334
• Markham, Lady, 165
• Marlowe, Christopher, 33, 194, 200, 201, 204, 285, 286, 313, 326, 362
• Marston, John, 73, 88, 102, 122, 328, 329, 396, 399, 412
• Martin, Richard, 99, 149
• Mary, Queen of Scots, 24, 65, 179
• Masque of the Inner Temple, The, 119, 124-139, 145, 208, 225, 228, 236, 246, 247, 248, 249, 250, 259, 281, 385
• Masque of Flowers, see Flowers
• Masque of Ulysses and Circe, The, 133
• Massinger, Philip, 6, 8, 98, 119, 122, 136, 168, 169, 201, 203, 211, 214, 219, 226, 228, 234, 241, 265, 272, 300, 305, 306, 326, 340, 379, 400, 407;
  • authorities upon his style, 300
• Mayne, Jasper, 361
• McKerrow, R. B., 271, 272
• Measure for Measure, 391, 392, 393
• Menaechmus, 35
• Menaphon, 159
• Merchant Taylors' School, 86
• Mermaid Tavern, the, 97-99, 114, 145, 148, 149, 193, 203
• Merry Wives, The, 110
• Metamorphosis of Tobacco, 38
• Microcosmographie, 198
• Middle Temple, the, 118, 124f., 138
• Middleton, Thomas, 102, 122, 201, 211, 239, 272, 305, 324, 399, 407, 412
• Midsummer-Night's Dream, A, 392
• Milner, J. D., 218
• Mirror for Magistrates, The, 70
• Mirror of Knighthood, The, 327, 329
• 'Mirtilla', 43, 45, 187[439]
• Miseries of Enforced Marriage, The, 324
• Misfortunes of Arthur, The, 35
• Mitre Inn, The, 94, 145, 146
• Monsieur Thomas, 73, 84, 88-94, 168, 237, 243, 245, 247, 263, 383
• Montaigne, 228
• Montagu, Lady Mary Wortley, 25
• Monteagle, Lord, 50, 51, 57
• Montemayor, 392
• Moore, Sir Thomas, 194
• More, Paul Elmer, 272f., 355f., 397ff., 415
• Morris, John, Life of Father Gerard, 46-59 et passim
• Mosely, Humphrey, The Stationer to the Readers, 130, 206, 216, 217
• Morte d'Arthur, 327
• Mountjoy, Christopher, 114, 118
• Moyses in a Map of his Miracles, 42
• Mucedorus, 331
• Much Ado About Nothing, 110, 344, 390, 392
• Mulcaster, Richard, 86, 318
• Munday, Anthony, 327
• Murch, H. S., ed. of The Knight, 324, 330
• Murray, J. T., Eng. Dram. Comp., 104, 105, 315, 368
• Muses Elizium, 44, 187, 191
• Narrative of Father Gerard, 47, 54
• Nashe, Thomas, 154, 204
• Nevill, Sir Henry, the elder, 145-148, 153;
  • the younger, 145, 146
• Nice Valour, The, 97, 98, 216, 236, 238, 378
• Nichols, J., Collections, Hist. Leicestershire, Progresses of Queen Elizabeth, Progresses of James I, 12, 13, 19, 65, 131, 186, et passim
• Nimphalls, Drayton, 187, 191
• Night Walker, The, 237
• Noble Gentleman, The, 236, 238, 378
• Northumbrian MS. of Bacon, 146
• Norton, Thomas, Gorboduc, 37
• oaths, 275, 286
• Oath of Allegiance, The, 60, 164
• Obstinate Lady, The, 377
• Ode to Sir William Skipworth, 215
• Oldfield, Mrs., 377
• Old Wives Tale, The, 326
• Oliphant, E. H., 83, 117, 234, 241, 252, 270, 272, 281, 300, 302, 304, 309, 312, 337, 338, 340, 374
• On the Tombs in Westminster, 183
• optatives, 275, 286
• Orlando Furioso, 334
• Ostler (Osteler, Ostler, Osler), Wm., 122, 342, 343
• Othello, 79, 110
• Overbury, Sir Thomas, 27, 153, 179
• Ovid, 38, 41, 142
• Palamon and Arcite, 32[440]
• 'Palmeo', 43, 187
• Palmerin de Oliva, Palmerin of England, 313, 325, 327, 329
• Pandosto, 159, 392
• Parisitaster, 88
• Pastoralists, the, 124, 132-144, 145
• Pastorals, Ambrose Philips, 186
• Paul's Players, the, 73, 83, 102, 315, 316, 318
• Peele, George, 326, 329
• Pepys, Samuel, 218, 358, 366
• Percy, Thomas, 49-52
• Pericles, 118, 344, 345, 387, 391, 392, 393, 394
• Persons, Father, 46, 47
• Pettus, Sir John, 231
• Philaster, 6, 7, 72, 88, 92, 96, 97, 101-107, 109, 116, 121, 159, 191, 230, 237, 239, 240, 241, 252, 253, 258, 259, 260, 261, 273, 285, 294, 297, 298, 302, 307, 308, 311, 312, 329, 337, 341-349, 361, 378, 381, 382, 384, 386-396, 412, et passim.
• Philip III of Spain, 371, 372
• Philips, Sir Ambrose, 186
• Phillipps de Lisles, the present, 186
• Phillipps, J. O. Halliwell, 342
• Phillips, Sir Robert, 149
• Philosophia Epicurea Democritiana, 203
• Pierce, Edward, 315
• Pierrepoint, Anne, mother of the dramatist, 16-18, 25
• Pierrepoint, Sir Henry, 16, 18, 45
• Pierrepoint, Robert, first Earl of Kingston, 17, 27, 38, 164, 179
• Pilgrim, The, 236, 278
• Plautus, 35, 197, 230
• Plutus, 125
• Poems, The, of Beaumont, see Beaumont, Francis, The Poems
• Poems Lyrick and Pastoral, Drayton, 42
• Poetaster, The, 149, 342
• Poets' Corner, 182ff., 192, 196, 199
• Pole, Katherine, 14
• Portraits of Beaumont, Nuneham, 181, 190, 192;
  • Robinson's engraving of 1840, 190, 217;
  • Knole, 190, 192, 217;
  • G. Vertue, 217;
  • Evans, 217;
  • Walker and Cockerell, 218
• Portraits of Fletcher, Knole: Blood, 217;
  • G. Vertue, 217;
  • Evans, 217;
  • Robinson, 217;
  • Walker, 218;
  • Earl of Clarendon's, 218;
  • Janssen, 219
• 'Prince of Misrule', 34
• 'Prince of Portpoole', 34
• Prince's Players, the, 114
• Praise of Hemp-seed, The, 199
• Princess Elizabeth's Players, 336
• Prophetesse, The, 236
• prose-test, the, 259
• Prynne, William, 397, 399
• Purple Island, The, Phineas Fletcher, 64
• Queen Anne's Players, 314, 318
• Queene of Corinth, The, 211, 236[441]
• Queen Henrietta's Players, 314
• Queen's Revels' Children, the, 80, 81, 83, 86, 87, 89, 96, 102, 103, 111, 114, 122, 124, 304, 305, 314, 315, 317, 319, 332, 335-337, 342, 343, 360, 368-370, 373
• Raleigh, Sir Walter, 36, 100, 138, 149, 155, 165, 179
• Randolph, Thomas, 150
• Red Bull Theatre, the, 313, 318
• 'Remond' and 'Doridon,' query, Fletcher and Beaumont, 139-144
• Revesby Sword-Play, 34
• Reynolds, Henry, 132, 201
• Reynolds, John, 147
• rhyme, 250
• 'Ricardo and Viola,' 338, 383
• Richard III, 14, 22
• Rigg, J. M., 13ff., 19
• Rollo, 237
• 'romance,' 279, 394, et passim
• Romeo and Juliet, 286, 389
• Rosalynde, 159
• Rosenbach, A. S. W., 333
• Rossiter, Philip, 103, 315, 316, 319, 370
• Routh, H. V., 328
• Rowley, William, 211, 239, 272, 314, 407, 412
• Royall King and Loyall Subject, 399
• Rule a Wife and Have a Wife, 211, 237, 243, 244, 249, 263, 268, 269, 280, 403
• run-on lines, 174, 250, 255, 258ff., 261ff.
• Rutland, Roger Manners, fifth Earl, 48, 152-155;
  • Francis, sixth Earl, 162, 163;
  • Elizabeth, Countess of, see Sidney, Elizabeth;
  • Cicely (Tufton), Countess of, 163
• Rymer, Thomas, 233, 354, 355, 397
• Sackville, Edward, fourth Earl of Dorset, 191
• Sackville, Lionel, seventh Earl of Dorset, 191, 217
• Sackville, Richard, third Earl of Dorset, 70, 179, 180, 191
• Sackville, Thomas, first Earl of Dorset, 37, 65-71
• Salmacis and Hermaphroditus, 39, 40, 41, 134, 141, 142
• Sampson, M. W., 386
• Sannazarro, 392
• Sarmiento de Acuña, Don Diego, Count Gondomar, 371-373
• Schelling, F. E., 234, 295
• Schevill, Rudolph, 322f., 324, 330, 332
• Scornful Ladie, The, 7, 100, 111-113, 171, 180, 232, 237, 238, 239, 240, 273, 368-378, 382, 383, 396
• Scourge of Folly, The, 104, 342, 343, 344
• Sea Voyage, The, 236
• 'Second Maiden's Tragedy,' 334
• Sejanus, 148, 411
• Selden, John, 99, 137, 149, 169, 170
• Semphill, Sir James, 59-60
• Seneca, 37
• Session of the Poets, The, Suckling, 137[442]
• Seyliard, Mrs., see Elizabeth Beaumont
• Seyliard, Thomas, 45, 159, 176, 187;
  • see also Beaumont, Elizabeth
• Shadwell, Thomas, 96
• Shakespeare, 3, 4, 5, 9, 12, 23, 26, 32, 33, 35, 79, 83, 92, 98, 101, 102, 103, 105, 106, 108, 110, 111, 114ff., 118, 122, 124, 136, 145, 154, 159, 182, 184, 193, 194, 199, 201, 211, 214, 219, 272, 280, 283, 286, 309, 326, 329, 330, 343, 344, 386ff., 387ff., 389, 396, 401, 411ff.
• Shakespeare, and Beaumont, 114-118
• Shakespeare, and his company of players, 110-111, 118-120, 145, 316
• Shakespeare, Was he influenced by Beaumont and Fletcher? 386-395
• Shaw, Knights of England, 17, 45, et passim
• Shelton, Thomas, transl. of Don Quixote, 120, 321-331, 335
• Shepheard's Calendar, 44
• Shepherdesse, The, John Beaumont, 159, 163
• Shepherd's Hunting, The, 135
• Shepherd's Pipe, The, 134, 135, 139
• Shirley, James, 150, 206, 208, 229
• Sicelides, Phineas Fletcher, 64
• Sidney, Elizabeth Manners, Countess of Rutland, 133, 139, 150-159, 165, 172-174, 180, 287
• Sidney, Sir Philip, 26, 37, 106, 111, 133, 142, 143, 150ff., 158, 159, 166, 197, 201, 392
• Sidney, Mary Herbert, Countess of Pembroke, 42, 133, 153
• Silent Woman, The, 120, 413, see Epicoene
• Skipwith, Sir William, 45, 166, 215
• Spanish Curate, The, 236, 271
• Slye, Christopher, 103
• Smith, L. T., 11, 200
• Southampton, see Wriothesley
• Spedding, James, 36
• Speght's Chaucer, 24, 178
• Spenser, Edmund, 24, 44, 182, 193, 199, 200
• Stanhope, Philip, Earl of Chesterfield, 165
• Stanley, Thomas, second Earl of Derby, 14
• Stanley, Thomas, 350, 374
• Stapleton, Miles Thomas, 12
• State Papers Domestic, Calendar of, 15, 51-61, 63, 127, 129, 146, 162, 164, 177, et passim
• Stationers' Registers, 84, 121, 237, et passim
• Stationer to the Readers, The, Mosely, 206
• 'Stella', 166
• Stephens, John, 202
• Stiefel, A. L., 89
• Stourton, Lord, 50
• Stratford upon Avon, 118
• Stuart, Lady Arabella, 17, 179
• Suckling, Sir John, 137
• Sullivan, Mary, 127, 128
• Sundridge, 175-180, 377, et passim[443]
• Supposes, The, Ariosto—George Gascoigne, 34, 35
• suspense, 389
• Symonds, J. A., 386
• Swinburne, Algernon, 4, 7, 8, 190, 233, 397
• Sympson and Seward, 233
• Talbots, the, Earls of Shrewsbury, 14, 17
• Tamer Tamed, The, 83, 236, 279, et passim, The Woman's Prize
• Taming of the Shrew, The, 35, 83
• Tasso, Aminta, 132
• Taylor, John, 198
• Taylor, Joseph, 122, 214, 332, 335ff., 402
• Tempest, The, 110, 283, 344, 386, 387, 390, 391, 393
• Tennyson, Alfred, 183
• Theobald, Lewis, 237, 359
• Thersites, 326
• Thierry and Theodoret, 8, 109, 237, 238, 240, 378, 386, 387, 395
• Thorndike, A. H., Influence of Beaumont and Fletcher on Shakespeare, editions of Maides Tragedy and Philaster, 73, 83, 84, 105, 110, 234, 241, 300, 303, 304, 305, 316, 318, 349, 350, 380, 386f.
• Thornhurst, Sir Stephen, 69
• 'Thyrsis,' 43, 187
• Time Poets, The, 203
• Timon, 389
• 'Tis a Pity, She's a Whore, 412
• Titles of Honour, 137
• Tombs in Westminster, On the, 183
• To the Apparition of his Mistresse calling him to Elizium, 170
• To the Honour'd Countess of ——, 152
• To the Memory of my beloved, the Author, Mr. William Shakespeare, and what he hath left us, 200
• Tourneur, Cyril, 272
• Townshend, Sir Robert, 167
• Tragedies of the Last Age, The, 354
• Tragedy of Bonduca, The, see Bonduca
• Travails of Three English Brothers, The, 81, 313, 314, 317, 318, 321, 325, 331
• Tresham, Francis, 48, 50, 52, 57, 58
• Tresham, Mary, 46
• Tresham, Sir Thomas, 46
• triplet, the, 259
• Triumph of Death, The, 270, 301-305, 389
• Triumph of Honour, The, 251, 301-305, 389
• Triumph of Love, The, 8, 251, 301-305, 388
• Triumph of Time, The, 270, 301-305
• True Tragedy of Richard, Duke of York, The, 326
• (On the) True Forms of English Poetry, 184
• Twelfth Night, 32, 117, 345, 390, 392, 393
• Two Gentlemen of Verona, The, 345, 390, 392, 412[444]
• Two Noble Kinsmen, The, 5, 119, 237
• Underwood, John, 342, 343
• Upham, A. H., 90
• Upon an Honest Man's Fortune, see Honest Man's Fortune
• Upon the Lines and Life of Shakespeare, Hugh Holland, 148
• (Tragedy of) Valentinian, The, 6, 8, 211, 236, 287, 400, 410
• Vanbrugh, Sir John, 188
• Variorum Edition of Beaumont and Fletcher, 190, 217, 234, 271, 346, 367, 413, et passim
• Vaux, Anne, alias Mrs. Perkins, 46-59, passim, 164
• Vaux, Eleanor, alias Mrs. Jennings, 46, 47, 57
• Vaux, Mrs., Elizabeth Roper, 46-56, 138, 164
• Vauxes, the, cousins of the dramatist, and the Gunpowder Plot, 46-61, 164f.
• verse-endings, double, triple, etc., 243
• verse-tests, 243ff., 246ff.
• versification of Fletcher and of Beaumont, 243-259
• Very Woman, A, 377
• Villiers, Christopher, 161, 162
• Villiers, George, Duke of Buckingham, 19, 60, 148, 159-164, 185
• Villiers, John, 161-162, 164
• Volpone, 72, 82, 92, 411
• von Wurzbach, Wolfgang, 334
• Walker, Henry, 119
• Walkley, Thomas, 145
• Wallace, C. W., Shakspere's Money Interest in the Globe, etc., Century Maga., 114, 118, 314, 315, 316, 319
• Waller, A. R., and Glover, A., editors of Camb. Eng. Class., Beaumont and Fletcher, 244, et passim;
  • Waller, ed. of The Scornful Ladie, 377
• Waller, Edmund, 150, 184, 231, 349, 359, 374
• Walpole, Henry, 16, 48
• Ward, Sir Adolphus William, Hist. Eng. Dram. Lit., 3, 91, 216, 234, 308, 377, 397
• Warwick, Richard, Earl of, 14
• Webster, John, 102, 122, 211, 396, 399, 411
• Wenman, Sir Richard, 53, 138
• Wenman, Thomas, 134, 137, 138
• West, John, 149
• White Devil, The, 122, 399
• Whitefriars Theatre, the, 96f., 102f., 122, 304, 315, 316, 343, 360, 369
• Whitehall, 125f.
• White Webbs, 52, 56
• Wife for a Month, A, 236, 263, 275, 278, 400, 403-406, 410
• Wild-Goose Chase, The, Dedication, 214, 237, 279
• Wilkins, George, 314, 324, 325
• Wills, James, 188
• Wilson, Arthur, 160
• Winter, Henry and Thomas, 49-52, 57[445]
• Winter's Tale, The, 110, 159, 283, 344, 386, 387, 390, 391, 393
• Wit at Severall Weapons, 236, 237, 378
• Wither, George, 134f., 138, 142
• Wit Without Money, 237, 279
• Woman-Hater, The, 7, 40, 41, 59, 72-79, 80, 82, 93, 100, 112, 115, 130, 171, 237, 239, 240, 250, 258, 273, 281, 285, 297, 305, 307-311, 350, 378, 382, 385, 407, 412
• Woman is a Weather-Cocke, 87, 302-305
• Woman's Prize, The, or The Tamer Tamed, 83, 236, 279
• (To Any) Woman that hath been no Weather-cocke, 304
• Women Pleas'd, 236, 279
• Wood, Anthony, 32
• Wordsworth, W., 20, 21, 25
• Wright, Christopher and John, 49-52
• Wright, Thomas, 13
• Wriothesley, Henry, third Earl of Southampton, 154, 184
• Wyatt, Sir Thomas, 175
• Xenophon's Cyropædeia, 109
• Ye-test, the 271-273, 309, 371, 374-375
• Yorkshire Tragedy, The, 303
• Your Five Gallants, 324
• Zola, 404