Beaumont and Fletcher

Beaumont and Fletcher

The work presents a critical examination of the dramatic contributions of Beaumont and Fletcher, highlighting their unique strengths and weaknesses. It praises their ability to create delightful and engaging plays, emphasizing the charm of specific works like "Beggar's Bush," "The Little French Lawyer," and "Monsieur Thomas." The author notes that while the plots of Beaumont and Fletcher may lack complexity and often rely on improbable situations, the dialogue remains the focal point, showcasing their talent for character-driven conversations. The critique extends to the inadequacies of existing editions of their plays, lamenting the lack of a competent editor who could restore the original verse and prose. The author expresses frustration with the state of literary criticism surrounding these works, suggesting that the efforts of previous editors have failed to honor the playwrights' artistic integrity. In contrast, the author reflects on the dramatic prowess of Ben Jonson, asserting that his intense artistry and well-structured plots, such as in "The Alchemist," position him as a significant figure in the same era. The author posits that a collaboration between Jonson and Beaumont and Fletcher could have resulted in a remarkable dramatist, though still falling short of Shakespeare's unparalleled genius. The discussion also touches on the stylistic range of dramatic poetry, positioning Shakespeare as a central figure whose works balance colloquial language and poetic diction. The author contrasts this with the extremes found in Massinger's plays and Milton's "Samson Agonistes," noting that while Massinger's style is close to conversational speech, Milton's is far removed from it. Ultimately, the author concludes that while Beaumont and Fletcher's works are enjoyable and significant, they do not reach the universal quality of Shakespeare's writing. The difficulty in imitating Shakespeare's style is highlighted, suggesting that his genius transcends the capabilities of his contemporaries, making it easier to replicate the styles of Beaumont, Fletcher, and Massinger than to capture the essence of Shakespeare himself.

By Samuel Taylor Coleridge · First published 1812 · Genre: Drama, Romanticism, Comedy · 773 words

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In the romantic drama Beaumont and Fletcher are almost supreme. Their plays are in general most truly delightful. I could read the Beggar's Bush from morning to night. How sylvan and sunshiny it is! The Little French Lawyer is excellent. Lawrit is conceived and executed from first to last in genuine comic humour. Monsieur Thomas is also capital. I have no doubt whatever that the first act and the first scene of the second act of the Two Noble Kinsmen are Shakspeare's. Beaumont and Fletcher's plots are, to be sure, wholly inartificial; they only care to pitch a character into a position to make him or her talk; you must swallow all their gross improbabilities, and, taking it all for granted, attend only to the dialogue. How lamentable it is that no gentleman and scholar can he found to edit these beautiful plays! [1] Did the name of criticism ever descend so low as in the hands of those two fools and knaves, Seward and Simpson? There are whole scenes in their edition which I could with certainty put back into their original verse, and more that could he replaced in their native prose. Was there ever such an absolute disregard of literary fame as that displayed by Shakspeare, and Beaumont and Fletcher? [2]

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Beaumont and Fletcher is listed on Textopian as an essay by Samuel Taylor Coleridge, dated 1812 CE.

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Beaumont · Fletcher · Coleridge · drama · literature · criticism · Shakespeare · plays · dialogue · humor · character · improbability

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