Biography
Francis Beaumont, alongside John Fletcher, emerged as a leading figure in English literature, particularly known for their collaborative efforts in drama. Beaumont hailed from an aristocratic background and mingled with the upper echelons of society, which influenced his work. Together with Fletcher, their partnership marked a significant turn in Renaissance drama, one that catered to the preferences of the upper class.
Early Life
Francis Beaumont was born around 1584 into a distinguished Anglo-Norman family. His mother's connections within the English nobility, combined with his father's role as a judge of the Court of Common Pleas and owner of Grace-Dieu Manor, placed Beaumont well within the aristocratic circles. The playwright was the third of four children, and his family was noted for its literary heritage, with poets like his brother John and cousins Phineas and Giles Fletcher among his relatives.
Beaumont and Fletcher were nurtured in a sophisticated and cultured environment, fostering their future paths as playwrights. Unlike Shakespeare, they experienced firsthand the lifestyle of the Renaissance elite. Their education included time at prestigious institutions such as Cambridge, Oxford, and the Inns of Court in London, which was not only a law school but also a hub of literary activity. Beaumont enrolled at Broadgates Hall (now Pembroke College) at Oxford in 1597 but left without a degree, later joining the Inns of Court in 1600.
Both Beaumont and Fletcher eventually abandoned their legal studies. Beaumont's shift to literature is somewhat obscure, but it seems he gravitated naturally towards creative pursuits. His early literary work includes the narrative poem Salmacis and Hermaphroditus, published anonymously in 1602, which suggests an early interest in literary endeavors. It wasn't until 1606 that Beaumont is definitively recorded as a playwright in collaboration with Fletcher.
Life’s Work
Initially, Beaumont and Fletcher worked independently, exploring their craft in the private theaters that attracted a more selective audience compared to the public venues. Their early efforts, performed by boys’ companies, met with varied success. Beaumont's The Woman Hater (c. 1606) fared decently, but The Knight of the Burning Pestle (1607), though now celebrated, initially flopped. Fletcher's The Faithful Shepherdess (c. 1608-1609) also struggled, possibly overestimating their audiences' sophistication.
The circumstances around their collaboration remain unclear, but shared backgrounds and influences likely united them. Both admired Ben Jonson, as evidenced in their tribute to his play Volpone: Or, The Fox (1606). They were part of Jonson’s literary circle at the Mermaid Tavern, as Beaumont vividly depicted in his letter to Jonson, reflecting the witty and vibrant exchanges among the group.
The partnership between Beaumont and Fletcher was more than professional; they reportedly lived together, famously described by seventeenth-century biographer John Aubrey. This living arrangement has been romanticized, aligning with the cultural ideals of friendship and mythologized as a reflection of their close bond.
Their collaborative works, initially performed by the Children of the Queen’s Revels, found greater success with the King’s Men at the Blackfriars Theater. Notable collaborations include Philaster: Or, Love Lies A-Bleeding (c. 1609), A King and No King (1611), and The Maid’s Tragedy (c. 1611), where Beaumont's influence is particularly strong. Fletcher's dominant presence is evident in works like Cupid’s Revenge (1612) and several comedies. Occasionally, their works included contributions from others, such as Philip Massinger.
Later Years and Legacy
The partnership between Beaumont and Fletcher ended around 1612 or 1613, coinciding with Beaumont’s marriage to Ursula Isley. He subsequently retired to Kent, where he wrote his final work, The Masque of the Inner Temple and Grayes Inn (1613), for a royal wedding. Beaumont passed away in 1616, leaving behind two daughters, and was interred in...
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Westminster Abbey’s Poets’ Corner.
Despite their brief partnership, Beaumont and Fletcher are celebrated as one of English literature's most prolific duos. However, the collaboration is somewhat overstated, as many plays attributed to their canon were the result of solo or other cooperative efforts. Fletcher, for instance, collaborated extensively with Massinger, often without due recognition.
Beaumont’s plays, particularly those identified as his own, are better remembered today. Their collaboration influenced the practice among playwrights of the era, even affecting Shakespeare’s later works. Importantly, their efforts solidified a shift in Renaissance drama towards themes and styles appealing to the upper class, a move that had already begun in more exclusive theater settings.
Impact on Drama
The works of Beaumont and Fletcher are often credited with steering Renaissance English drama towards the tastes and sensibilities of the elite. They captured the essence of aristocratic life through satire and wit, aligning more closely with the classical leanings of Jonson. Although celebrated in their time, their dramatic contributions are seldom staged today and are often perceived as less mature.
Their focus on light-hearted themes marked a departure from the more profound narratives that characterized earlier periods. This shift contributed to the division of theater audiences who had once shared a more unified experience in the public theaters. In doing so, they paved the way for the Restoration era's dramatic styles, like heroic plays and comedies of manners, which bore their influence.
Bibliography
Appleton, William W. Beaumont and Fletcher: A Critical Study. Philadelphia: R. West, 1977. This exploration delves into Beaumont's partnerships, offering insights into the nature of his collaborations with John Fletcher.
Bliss, Lee. Francis Beaumont. Boston: Twayne, 1987. Bliss provides a comprehensive analysis of Beaumont’s major works, complete with a biographical sketch and an annotated bibliography.
Clark, Sandra. The Plays of Beaumont and Fletcher: Sexual Themes and Dramatic Representation. New York: Harvester Wheatsheaf, 1994. Examines themes of sexuality and identity in the playwrights' work.
Danby, John F. Poets on Fortune’s Hill: Studies in Sidney, Shakespeare, Beaumont, and Fletcher. London: Faber and Faber, 1952. Reprinted as Elizabethan and Jacobean Poets, 1964, this study contextualizes the writers socially and historically.
Finkelpearl, Philip J. Court and Country Politics in the Plays of Beaumont and Fletcher. Princeton, N.J.: Princeton University Press, 1990. Reevaluates Beaumont’s social background and the political nuances in their plays.
Fletcher, Ian. Beaumont and Fletcher. London: Longmans, Green and Co., 1967. A British Council pamphlet providing an overview and a bibliography of the playwrights' collaborations.
Gayley, Charles Mills. Beaumont, the Dramatist. 1914. Reprint. New York: Russell & Russell, 1969. A detailed biography emphasizing Beaumont's life and works.
Gossett, Suzanne. The Influence of the Jacobean Masque on the Plays of Beaumont and Fletcher. New York: Garland, 1988. Discusses how masques impacted the duo’s dramatic works.
Hoy, Cyrus. “The Shares of Fletcher and His Collaborators in the Beaumont and Fletcher Canon.” Studies in Bibliography 8-12 (1956-1962). A definitive yet debated exploration of their playwriting contributions.
Leech, Clifford. The John Fletcher Plays. London: Chatto and Windus, 1962. Insightful analyses of Fletcher's plays, highlighting The Humorous Lieutenant as a standout piece.
Masten, Jeffrey. Textual Intercourse: Collaboration, Authorship, and Sexualities in Renaissance Drama. Cambridge, England: Cambridge University Press, 1998. Investigates the nature of Beaumont and Fletcher's collaboration.
Sprague, Arthur Colby. Beaumont and Fletcher on the Restoration Stage. Cambridge, England: Harvard University Press, 1926. Examines the historical reception of their plays.
Squire, Charles. John Fletcher. Boston: Twayne Publishers, 1986. Focuses on Fletcher but includes biographies of both playwrights and a synopsis of their collective works.
Waith, Eugene M. The Pattern of Tragicomedy in Beaumont and Fletcher. Hamden, Conn.: Archon Books, 1969. Analyzes the tragicomic style in their plays.
Wallis, Lawrence B. Fletcher, Beaumont, and Company: Entertainers to the Jacobean Gentry. New York: King’s Crown Press, 1947. Explores the socio-cultural backdrop against which they wrote.
