suggests Fletcher, and I find but little of his work in the first two acts. As in A King and No King, he seems to have done most in the play's later stages. The evidence supporting Beaumont's co-operation is, of course, mostly internal: it may not be thought strong enough. In this case, parallels are not conclusive. Poets who wore each other's clothes were likely to borrow each other's thoughts. The most valuable parallels of all, from my point of view, are those with Julius Caesar. To see their significance, one need not hold that Beaumont had anything to do with that play. But it is clear that either Beaumont or Fletcher was continually falling back upon it for a line, a thought, or a phrase. It may be thought that both were; but, in almost every case in the 'partnership plays, the helps from "Shakespeare's" tragedy are found in Beaumont scenes. I cannot believe that Fletcher would have refrained from using such aids when working with Beaumont, only to thieve largely and openly when not under covert baron. To me, such borrowings from Julius Caesar are incontestable proofs of Beaumont's participation in the pastoral. Finally, one may well ask how it came about that Fletcher should have been drawn to write such a play as the Faithful Shepherdess. It seems altogether foreign to his nature. He had no apparent liking for the country, unless it was the country of Stratford-atte-Bowe, and there could not have been an insistent public call for a pastoral. Fletcher was a court, marine, town, street, tavern and brothel poet. If, instead of a pastoral, the Faithful Shepherdess had been a sea-piece, the choice would not have been surprising. He revelled in the watery element, as the large use of images suggested by the mariner's life in his plays goes to show. Love of the sea, rather than of rural life, is what he brought away with him from Rye, though his real cri de coeur, is, perhaps, to be found in Wit without Money: "O London, how I love thee!" On the other hand, Beaumont was decidedly a lover of the joys of an existence away from the town, if due weight is to be given to the utterances of his characters-e.g., Philaster and Viola, who both speak strongly for a primitive mode of living. When disillusioned, his people invariably seek a rural retreat, the remoter the better. Leucippus, Pindarus, Bellario all do so, and the plot of Philaster turns upon the attempt of its three principal personages to shake off the trammels of a polite, but empty, life. Beaumont has always good words for the country. He praises its innocence: "And we live as merrily, and dance o' good days Nor are such speeches always uttered by "poetical" characters. There can be no doubt that Beaumont had as dear a memory of his early rural environment as Shakespeare had of Stratford, with, perhaps, a deeper longing to return to it or its like. Even if Beaumont was not the initiating partner in the Faithful Shepherdess-and I believe that he was-oxen and wain-ropes would not have kept him from having a share in it. A INDEX. A King and No King, 6, 25, 32, 35, All's Well that Ends Well, 3. Antony and Cleopatra, Foreword, vii. ; B Bacon, Francis, Letter to Burleigh Bathurst, C, 3, 160. Betterton, Thomas, 203, 204. Bradley, A. C., Shakespearean C Caesaris Interfecti, 95. Caesar and Pompey, 164, 165. Captain, 25, 51, 63, 157. Chapman, George, 106. Cicero, Letters, 69, 70, 72; Letter DCIX, 150; DCCXVII, 150. "Cobler, The," Greene's name for Coleridge, Samuel Taylor, 198, 199. Froissart, 143; Chronicles, 153 and note. Furnivall, F. J., 167; Leopold Intro- G Gayley, Francis Beaumont, 208. Greene, Robert, 12, 13, 41, 51, 64, Guise, the duc de, assassination of, H Hamlet, 3, 5, 6, 8, 10, 43, 67, 75, 80, I Henry IV., 4. 2 Henry IV., 3. Henry V., 3, 10, 83, 87. Henry VI. trilogy, Foreword, vii.; 2. I Henry VI., 102, 142. 2 Henry VI., 51, 52, 64, 84, 115, 129, 3 Henry VI., 67, 68, 102, 106, 129, Honest Whore, 184. Maid's Tragedy, 6, 25, 32, 39, 44, 45, 46, 47, 53, 54, 66, 68, 73, 74, 90, Massacre at Paris, vii, 15, 16, 17, 19, 21, 22, 41, 62, 65, 70, 77, 88, 99, Measure for Measure, 121, Montaigne, Essay Of Drunkenness, Moore Smith, G. C., 121. N Never Too Late, 12, 173. Noble Gentleman, 21, 24, 31, 110, 140, North, Sir Thomas, 10, 40, 56, 60, Pericles, 40, 186. Pharsalia (Marlowe's translation of Philaster, 8, 24, 25, 31, 39, 41, 42, 43, 46, 47, 48, 50, 51, 53, 55, 57, 61, Pliny, 40, 53. Plutarch (Lives), vii., 10, 20, 23, 26, Poel, William, Letter to the Times R Revenger's Tragedy, 10. Richard II,, 2, 45, 59, 65, 100, 101, Romeo and Juliet, 2, 75, 122, 203. S Scornful Lady, 35, 39, 55, 56, 91, 125, Scrimgeour, J. C., Edition of Julius 1 Tamburlaine, 41, 69, 94, 115, 125, 2 Tamburlaine, viii., 17, 18, 19, 36, Taming of the Shrew, 46. Tempest, 24, 25, 28, 170, 186. True Tragedie, 61, 67, 68, 70, 95, 102, Two Noble Kinsmen, 186, 213. V Variorum Edition (Horace Howard W Warburton, William, 103. Wilson, Robert, called "Roscius" Winter's Tale, 14, 25, 83, 192. Woman Hater, 24, 42, 55, 91, 111, Wright, W. Aldis (Clarendon Press ERRATUM. For "Fleay's Shakespeare Manual," on page 160, read "Fleay's Introduction to Shakespearian Study. |