Francis Beaumont (1584 – 6 March 1616 / Leicestershire)
Biography of Francis Beaumont
Francis Beaumont was a dramatist in the English Renaissance theatre, most famous for his collaborations with John Fletcher.
Beaumont was the son of Sir Francis Beaumont of Grace Dieu, near Thringstone in Leicestershire, a justice of the common pleas. He was born at the family seat and was educated at Broadgates Hall (now Pembroke College, Oxford) at age thirteen. Following the death of his father in 1598, he left university without a degree and followed in his father's footsteps by entering the Inner Temple in London in 1600.
Accounts suggest that Beaumont did not work long as a lawyer. He became a student of poet and playwright Ben Jonson ; he was also acquainted with Micheal Drayton and other poets and dramatists, and decided that was where his passion lay. His first work, Salmacis and Hermaphroditus, appeared in 1602. The 1911 edition of the Encyclopædia Britannica describes the work as "not on the whole discreditable to a lad of eighteen, fresh from the popular love-poems of Marlowe and Shakespeare, which it naturally exceeds in long-winded and fantastic diffusion of episodes and conceits." In 1605, Beaumont wrote commendatory verses to Jonson's Volpone.
Beaumont's collaboration with Fletcher may have begun as early as 1605. They had both hit an obstacle early in their dramatic careers with notable failures; Beaumont's The Knight of the Burning Pestle, first performed by the Children of the Blackfriars in 1607, was rejected by an audience who, the publisher's epistle to the 1613 quarto claims, failed to note "the privie mark of irony about it;" that is, they took Beaumont's satire of old-fashioned drama as an old-fashioned drama. The play received a lukewarm reception. The following year, Fletcher's Faithful Shepherdess failed on the same stage. In 1609, however, the two collaborated on Philaster, which was performed by the King's Men at the Globe Theatre and at Blackfriars. The play was a popular success, not only launching the careers of the two playwrights but also sparking a new taste for tragicomedy. According to a mid-century anecdote related by John Aubrey, they lived in the same house on the Bankside in Southwark, "sharing everything in the closest intimacy." About 1613 Beaumont married Ursula Isley, daughter and co-heiress of Henry Isley of Sundridge in Kent, by whom he had two daughters, one posthumous. He had a stroke between February and October 1613, after which he wrote no more plays, but was able to write an elegy for Lady Penelope Clifton, who died 26 October 1613. Beaumont died in 1616 and was buried in Westminster Abbey. Although today Beaumont is remembered as a dramatist, during his lifetime he was also celebrated as a poet.
It was once written of Beaumont and Fletcher that "in their joint plays their talents are so...completely merged into one, that the hand of Beaumont cannot clearly be distinguished from that of Fletcher." Yet this romantic notion did not stand up to critical examination.
In the seventeenth century, Sir Aston Cockayne, a friend of Fletcher's, specified that there were many plays in the 1647 Beaumont and Fletcher folio that contained nothing of Beaumont's work, but rather featured the writing of Philip Massinger. Nineteenth- and twentieth-century critics like E. H. C. Oliphant subjected the plays to a self-consciously literary, and often subjective and impressionistic, reading — but nonetheless began to differentiate the hands of the collaborators. This study was carried much farther, and onto a more objective footing, by twentieth-century scholars, especially Cyrus Hoy. Short of absolute certainty, a critical consensus has evolved on many plays in the canon of Fletcher and his collaborators; in regard to Beaumont, the schema below is among the least controversial that has been drawn.
Francis Beaumont's Works:
The Knight of the Burning Pestle, comedy (performed 1607; printed 1613)
The Masque of the Inner Temple and Gray's Inn, masque (performed 20 February 1613; printed 1613?)
The Woman Hater, comedy (1606; 1607)
Cupid's Revenge, tragedy (c. 1607–12; 1615)
Philaster, or Love Lies a-Bleeding, tragicomedy (c. 1609; 1620)
The Maid's Tragedy, tragedy (c. 1609; 1619)
A King and No King, tragicomedy (1611; 1619)
The Captain, comedy (c. 1609–12; 1647)
The Scornful Lady, comedy (ca. 1613; 1616)
Love's Pilgrimage, tragicomedy (c. 1615–16; 1647)
The Noble Gentleman, comedy (licensed 3 February 1626; 1647)
Beaumont/Fletcher plays, later revised by Massinger:
Thierry and Theodoret, tragedy (c. 1607?; 1621)
The Coxcomb, comedy (c. 1608–10; 1647)
Beggars' Bush, comedy (c. 1612–13?; revised 1622?; 1647)
Love's Cure, comedy (c. 1612–13?; revised 1625?; 1647)
- A Funeral Elegy on the Death of The Lady...
- A Sonnet
- Ad Comitissam Rutlandiæ
- An Elegy on the Death of the Virtuous La...
- An Elegy on the Lady Markham
- Fie On Love
- In Laudem Authoris.
- Lay a garland on my hearse
- Mr. Francis Beaumont's Letter to Ben Jon...
- On the Marriage of a Beauteous Young Gen...
- On the Tombs in Westminster Abbey
- Salmacis and Hermaphroditus.
- The Author to the Reader
- The Conclusion
Beautiful Paintings On Books
by Ekaterina Panikanova
You Too Can Learn to Write Surrealist Poetry
Spudnik Press is offering a workshop in surrealist poetry
Distasteful Fashion Shoot Featuring Author Suicides is Pulled
The spread is called 'Last Words.'
Autistic Pride Day
In Laudem Authoris.
Like to the weake estate of a poore friend,
To whom sweet fortune hath bene euer slow,
VVhich dayly doth that happy howre attend,
VVhen his poore state may his affection shew:
So fares my loue, not able as the rest,
To chaunt thy prayses in a lofty vayne,
Yet my poore Muse doth vow to doe her best,
And wanting wings, shee'le tread an humble strayne.
I thought at first her homely steps to rayse,