PART TWO

THE COLLABORATION OF BEAUMONT AND FLETCHER

CHAPTER PAGE

XVI STATEMENT OF THE PROBLEM; CRITICAL APPARATUS 225

XVII THE DELIMITATION OF THE FIELD 236

XVIII THE VERSIFICATION OF FLETCHER AND OF BEAUMONT 243

XIX FLETCHER'S DICTION 260

XX FLETCHER'S MENTAL HABIT 277

XXI BEAUMONT'S DICTION 281

XXII BEAUMONT'S MENTAL HABIT 291

XXIII THE AUTHORSHIP OF THREE DISPUTED PLAYS 300

XXIV "THE WOMAN-HATER," AND "THE KNIGHT" 307

XXV THE FIVE CENTRAL PLAYS 332

XXVI THE LAST PLAY 368

XXVII THE DRAMATIC ART, PRINCIPALLY OF BEAUMONT 378

XXVIII DID THE BEAUMONT "ROMANCE" INFLUENCE SHAKESPEARE? 386

XXIX CONCLUSION 396

APPENDIX

Table A 419

" B 420

" C 421

" D 422

" E 423

INDEX 425

LIST OF ILLUSTRATIONS

Portrait of Francis Beaumont _Frontispiece_

FACING PAGE The Ruins of Grace-Dieu Nunnery 22

Ruins of Grace-Dieu 26

A Priory, Ulveston, Extant in 1730 26

Thomas Sackville, First Earl of Dorset 66

The Temple 96

The Globe Theatre, with St. Paul's in the Background 104

Ben Jonson 120

Francis Bacon 146

George Villiers, First Duke of Buckingham, and Family 160

John Selden 170

The Beaumont of the Nuneham Portrait 192

Michael Drayton 202

John Fletcher 226

John Earle, Bishop of Worcester and Salisbury 244

Don Diego Sarmiento, Count Gondomar 372

BEAUMONT, THE DRAMATIST