[In the following essay, Eliot argues that Massinger is an inferior playwright whose dreary plays lack moral vigor and hence are typical of Jacobean decadence.]

Massinger has been more fortunately and more fairly judged than several of his greater contemporaries. Three critics have done their best by him: the notes of Coleridge exemplify Coleridge's fragmentary and fine perceptions; the essay of Leslie Stephen is a piece of formidable destructive analysis; and the essay of Swinburne is Swinburne's criticism at its best. None of these, probably, has put Massinger finally and irrefutably into a place; and if we still aspire to settle this distinguished and unread playwright, we shall find Professor Cruickshank's book¹ more useful, perhaps, than any of them. English criticism is inclined to argue or persuade rather than to state; and, instead of forcing the subject to expose himself, these critics have left in their work an undissolved residuum of their own good taste, which, however impeccable, is something that requires our faith. The principles which animate this taste remain unexplained. Mr. Cruickshank's book is a work of scholarship; and the advantage of good scholarship is that it presents us with evidence which is an invitation to the critical faculty of the reader: it bestows a method, rather than a judgment. Mr. Cruickshank, like most scholars, feels obliged to offer some undeveloped generalizations which do not attach themselves at once to his evidence. It is difficult—it is perhaps the supreme difficulty of criticism—to make the facts generalize themselves; but Mr. Cruickshank at least presents us with facts which are capable of generalization. This is a service of value; and it is therefore wholly a compliment to the author to say that his appendices are as valuable as the essay itself.

The sort of labour to which Mr. Cruickshank has devoted himself is one that professed critics ought more willingly to undertake. It is an important part of criticism, more important than any mere expression of opinion. To understand Elizabethan drama it is necessary to study a dozen playwrights at once, to dissect with all care the complex growth, to ponder collaboration to the utmost line. Reading Shakespeare and several of his contemporaries is pleasure enough, perhaps all the pleasure possible, for most. But if we wish to consummate and refine this pleasure by understanding it, to distil the last drop of it, to press and press the essence of each author, to apply exact measurement to our own sensations, then we must compare; and we cannot compare without parcelling the threads of authorship and influence. We must employ Mr. Cruickshank's method to examine Mr. Cruickshank's judgments; and perhaps the most important judgment to which he has committed himself is this:

Massinger, in his grasp of stagecraft, his flexible metre, his desire in the sphere of ethics to exploit both vice and virtue, is typical of an age which had much culture, but which, without being exactly corrupt, lacked moral fibre.

Here, in fact, is our text: to elucidate this sentence would be to account for Massinger. We begin vaguely with good taste, by a recognition that Massinger is inferior: can we trace this inferiority, dissolve it, and have left any element of merit?

We turn first to the parallel quotations from Massinger and Shakespeare collocated by Mr. Cruickshank to make manifest Massinger's indebtedness. One of the surest of tests is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. The good poet welds his theft into a whole of feeling which is unique, utterly different from that from which it was torn; the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest. Chapman borrowed from Seneca; Shakespeare and Webster from Montaigne. The two great followers of Shakespeare, Webster and Tourneur, in their mature work do not borrow from him; he is too close to them to be of use to them in this way. Massinger, as Mr. Cruickshank shows, borrows from Shakespeare a good deal. Let us profit by some of the quotations with which he has provided us:

Massinger: Can I call back yesterday, with all their aids
That bow unto my sceptre? or restore
My mind to that tranquillity and peace
It then enjoyed?
Shakespeare: Not poppy, nor mandragora,
Nor all the drowsy syrops of the world
Shall ever medecine thee to that sweet sleep
Which thou owedst yesterday.

Massinger's is a general rhetorical question, the language just and pure, but colourless. Shakespeare's has particular significance; and the adjective “drowsy” and the verb “medecine” infuse a precise vigour. This is, on Massinger's part, an echo rather than an imitation or a plagiarism—the basest, because least conscious form of borrowing. “Drowsy syrop” is a condensation of meaning frequent in Shakespeare, but rare in Massinger.

Massinger: Thou didst not borrow of Vice her indirect,
Crooked, and abject means.
Shakespeare: God knows, my son,
By what by-paths and indirect crook'd ways
I met this crown.

Here, again, Massinger gives the general forensic statement, Shakespeare the particular image. “Indirect crook'd” is forceful in Shakespeare; a mere pleonasm in Massinger. “Crook'd ways” is a metaphor; Massinger's phrase only the ghost of a metaphor.

Massinger: And now, in the evening,
When thou shoud'st pass with honour to thy rest,
Wilt thou fall like a meteor?
Shakespeare: I shall fall
Like a bright exhalation in the evening,
And no man see me more.

Here the lines of Massinger have their own beauty. Still, a “bright exhalation” appears to the eye and makes us catch our breath in the evening; “meteor” is a dim simile; the word is worn.

Massinger: What you deliver to me shall be lock'd up
In a strong cabinet, of which you yourself
Shall keep the key.
Shakespeare: 'Tis in my memory locked,
And you yourself shall keep the key of it.

In the preceding passage Massinger had squeezed his simile to death, here he drags it round the city at his heels; and how swift Shakespeare's figure is! We may add two more passages, not given by our commentator; here the model is Webster. They occur on the same page, an artless confession.

                    Here he comes,
His nose held up; he hath something in the wind,

is hardly comparable to “the Cardinal lifts up his nose like a foul porpoise that smells the storm,” and when we come upon

                    as tann'd galley-slaves
Pay such as do redeem them from the oar,

it is unnecessary to turn up the great lines in the Duchess of Malfi. Massinger fancied this galley-slave; for he comes with his oar again in the Bondman:—

Never did galley-slave shake off his chains,
Or looked on his redemption from the oar. …

Now these are mature plays; and the Roman Actor (from which we have drawn the two previous extracts) is said to have been the preferred play of its author.

We may conclude directly from these quotations that Massinger's feeling for language had outstripped his feeling for things; that his eye and his vocabulary were not in close cooperation. One of the greatest distinctions of several of his elder contemporaries—we name Middleton, Webster, Tourneur—is a gift for combining, for fusing into a single phrase, two or more diverse impressions.

… in her strong toil of grace

of Shakespeare is such a fusion; the metaphor identifies itself with what suggests it; the resultant is one and is unique:—

Does the silk worm expend her yellow labours? …
Why does yon fellow falsify highways
And lays his life between the judge's lips
To refine such a one? keeps horse and men
To beat their valours for her?
Let the common sewer take it from distinction. …
Lust and forgetfulness has been amongst us. …

These lines of Tourneur and of Middleton exhibit that perpetual slight alteration of language, words perpetually juxtaposed in new and sudden combinations, meanings perpetually eingeschachtelt into meanings, which evidences a very high development of the senses, a development of the English language which we have perhaps never equalled. And, indeed, with the end of Chapman, Middleton, Webster, Tourneur, Donne we end a period when the intellect was immediately at the tips of the senses. Sensation became word and the word was sensation. The next period is the period of Milton (though still with a Marvell in it); and this period is initiated by Massinger.

It is not that the word becomes less exact. Massinger is, in a wholly eulogistic sense, choice and correct. And the decay of the senses is not inconsistent with a greater sophistication of language. But every vital development in language is a development of feeling as well. The verse of Shakespeare and the major Shakespearian dramatists is an innovation of this kind, a true mutation of species. The verse practised by Massinger is a different verse from that of his predecessors; but it is not a development based on, or resulting from, a new way of feeling. On the contrary, it seems to lead us away from feeling altogether.

We mean that Massinger must be placed as much at the beginning of one period as at the end of another. A certain Boyle, quoted by Mr. Cruickshank, says that Milton's blank verse owes much to the study of Massinger's.

In the indefinable touches which make up the music of a verse [says Boyle], in the artistic distribution of pauses, and in the unerring choice and grouping of just those words which strike the ear as the perfection of harmony, there are, if we leave Cyril Tourneur's Atheist's Tragedy out of the question, only two masters in the drama, Shakespeare in his latest period and Massinger.

This Boyle must have had a singular ear to have preferred Tourneur's apprentice work to his Revenger's Tragedy, and one must think that he had never glanced at Ford. But though the appraisal be ludicrous, the praise is not undeserved. Mr. Cruickshank has given us an excellent example of Massinger's syntax:—

                    What though my father
Writ man before he was so, and confirm'd it,
By numbering that day no part of his life
In which he did not service to his country;
Was he to be free therefore from the laws
And ceremonious form in your decrees?
Or else because he did as much as man
In those three memorable overthrows,
At Granson, Morat, Nancy, where his master,
The warlike Charalois, with whose misfortune
I bear his name, lost treasure, men, and life,
To be excused from payment of those sums
Which (his own patrimony spent) his zeal
To serve his country forced him to take up!

It is impossible to deny the masterly construction of this passage; perhaps there is not one living poet who could do the like. It is impossible to deny the originality. The language is pure and correct, free from muddiness or turbidity. Massinger does not confuse metaphors, or heap them one upon another. He is lucid, though not easy. But if Massinger's age, “without being exactly corrupt, lacks moral fibre,” Massinger's verse, without being exactly corrupt, suffers from cerebral anæmia. To say that an involved style is necessarily a bad style would be preposterous. But such a style should follow the involutions of a mode of perceiving, registering, and digesting impressions which is also involved. It is to be feared that the feeling of Massinger is simple and overlaid with received ideas. Had Massinger had a nervous system as refined as that of Middleton, Tourneur, Webster, or Ford, his style would be a triumph. But such a nature was not at hand, and Massinger precedes, not another Shakespeare, but Milton.

Massinger is, in fact, at a further remove from Shakespeare than that other precursor of Milton—John Fletcher. Fletcher was above all an opportunist, in his verse, in his momentary effects, never quite a pastiche; in his structure ready to sacrifice everything to the single scene. To Fletcher, because he was more intelligent, less will be forgiven. Fletcher had a cunning guess at feelings, and betrayed them; Massinger was unconscious and innocent. As an artisan of the theatre he is not inferior to Fletcher, and his best tragedies have an honester unity than Bonduca. But the unity is superficial. In the Roman Actor the development of parts is out of all proportion to the central theme; in the Unnatural Combat, in spite of the deft handling of suspense and the quick shift from climax to a new suspense, the first part of the play is the hatred of Malefort for his son and the second part is his passion for his daughter. It is theatrical skill, not an artistic conscience arranging emotions, that holds the two parts together. In The Duke of Milan the appearance of Sforza at the Court of his conqueror only delays the action, or rather breaks the emotional rhythm. And we have named three of Massinger's best.

A dramatist who so skilfully welds together parts which have no reason for being together, who fabricates plays so well knit and so remote from unity, we should expect to exhibit the same synthetic cunning in character. Mr. Cruickshank, Coleridge, and Leslie Stephen are pretty well agreed that Massinger is no master of characterization. You can, in fact, put together heterogeneous parts to form a lively play; but a character, to be living, must be conceived from some emotional unity. A character is not to be composed of scattered observations of human nature, but of parts which are felt together. Hence it is that although Massinger's failure to draw a moving character is no greater than his failure to make a whole play, and probably springs from the same defective sensitiveness, yet the failure in character is more conspicuous and more disastrous. A “living” character is not necessarily “true to life.” It is a person whom we can see and hear, whether he be true or false to human nature as we know it. What the creator of character needs is not so much knowledge of motives as keen sensibility; the dramatist need not understand people; but he must be exceptionally aware of them. This awareness was not given to Massinger. He inherits the traditions of conduct, female chastity, hymeneal sanctity, the fashion of honour, without either criticizing or informing them from his own experience. In the earlier drama these conventions are merely a framework, or an alloy necessary for working the metal; the metal itself consisted of unique emotions resulting inevitably from the circumstances, resulting or inhering as inevitably as the properties of a chemical compound. Middleton's heroine, for instance, in the Changeling, exclaims in the well-known words:—

Why, 'tis impossible thou canst be so wicked,
To shelter such a cunning cruelty
To make his death the murderer of my honour!

The word “honour” in such a situation is out of date, but the emotion of Beatrice at that moment, given the conditions, is as permanent and substantial as anything in human nature. The emotion of Othello in Act V. is the emotion of a man who discovers that the worst part of his own soul has been exploited by someone more clever than he; it is this emotion carried by the writer to a very high degree of intensity. Even in so late and so decayed a drama as that of Ford, the framework of emotions and morals of the time is only the vehicle for statements of feeling which are unique and imperishable: Ford's and Ford's only.

What may be considered corrupt or decadent in the morals of Massinger is not an alteration or diminution in morals; it is simply the disappearance of all the personal and real emotions which this morality supported and into which it introduced a kind of order. As soon as the emotions disappear the morality which ordered it appears hideous. Puritanism itself became repulsive only when it appeared as the survival of a restraint after the feelings which it restrained had gone. When Massinger's ladies resist temptation they do not appear to undergo any important emotion; they merely know what is expected of them; they manifest themselves to us as lubricious prudes. Any age has its conventions; and any age might appear absurd when its conventions get into the hands of a man like Massinger—a man, we mean, of so exceptionally superior a literary talent as Massinger's, and so paltry an imagination. The Elizabethan morality was an important convention; important because it was not consciously of one social class alone, because it provided a framework for emotions to which all classes could respond, and it hindered no feeling. It was not hypocritical, and it did not suppress; its dark corners are haunted by the ghosts of Mary Fitton and perhaps greater. It is a subject which has not been sufficiently investigated. Fletcher and Massinger rendered it ridiculous; not by not believing in it, but because they were men of great talents who could not vivify it; because they could not fit into it passionate, complete human characters.

The tragedy of Massinger is interesting chiefly according to the definition given before; the highest degree of verbal excellence compatible with the most rudimentary development of the senses. Massinger succeeds better in something which is not tragedy; in the romantic comedy. A Very Woman deserves all the praise that Swinburne, with his almost unerring gift for selection, has bestowed upon it. The probable collaboration of Fletcher had the happiest result; for certainly that admirable comic personage, the tipsy Borachia, is handled with more humour than we expect of Massinger. It is a play which would be enjoyable on the stage. The form, however, of romantic comedy is itself inferior and decadent. There is an inflexibility about the poetic drama which is by no means a matter of classical, or neoclassical, or pseudoclassical law. The poetic drama might develop forms highly different from those of Greece or England, India or Japan. Conceded the utmost freedom, yet would the romantic drama remain inferior. The poetic drama must have an emotional unity, let the emotion be whatever you like. It must have a dominant tone; and if this be strong enough, the most heterogeneous emotions may be made to reinforce it. The romantic comedy is a skillful concoction of inconsistent emotion, a revue of emotion. A Very Woman is surpassingly well plotted. The debility of romantic drama does not depend upon extravagant setting, or preposterous events, or inconceivable coincidences; all these might be found in a serious tragedy or comedy. It consists in an internal incoherence of feelings, a concatenation of emotions which signifies nothing.

From this type of play, so eloquent of emotional disorder, there was no swing back of the pendulum. Changes never come by a simple reinfusion into the form which the life has just left. The romantic drama was not a new form. Massinger dealt not with emotions so much as with the social abstractions of emotions, more generalized and therefore more quickly and easily interchangeable within the confines of a single action. He was not guided by direct communications through the nerves. Romantic drama tended, accordingly, toward what is sometimes called the “typical,” but which is not the truly typical; for the typical figure in a drama is always particularized; an individual. The tendency of the romantic drama was toward a form which continued it in removing its more conspicuous vices, was toward a more severe external order. This form was the Heroic Drama. We look into Dryden's “Essay on Heroic Plays,” and we find that “love and valour ought to be the subject of an heroic poem.” Massinger, in his destruction of the old drama, had prepared the way for Dryden. The intellect had perhaps exhausted the old conventions. It was not able to supply the impoverishment of feeling.

Such are the reflections aroused by an examination of some of Massinger's plays in the light of Mr. Cruikshank's statement that Massinger's age “had much culture, but, without being exactly corrupt, lacked moral fibre.” The statement may be supported. In order to fit into our estimate of Massinger the two admirable comedies—A New Way to Pay Old Debts and The City Madam—a more extensive research would be required than is possible within our limits.

Note

1. Philip Massinger. By A. H. Cruickshank, M.A., Professor of Greek in the University of Durham. Blackwell, Oxford.