The old English dramatists

In Short

This book presents a series of lectures that examine the lives and works of the great English dramatists writing between the late sixteenth and early seventeenth centuries. Moving beyond mere academic analysis, the text considers Marlowe, Webster, Chapman, Beaumont, Fletcher, Massinger, and Ford, evaluating their contributions to the English stage and their enduring influence on language. By balancing critical scrutiny with the warmth of a lifelong reader, the work seeks to illuminate why these poets remain vital, offering a scholarly yet accessible window into the spirit of early modern creative achievement.

The Story

The inquiry begins by situating the English theatre within a broader European context, noting how the national genius of the Spanish stage—with its own unique blend of tragedy and comedy—offers a fascinating parallel to the development of London’s drama. The author argues that the Elizabethan age provided a singular environment, a "marvellous whetstone of the wits," where a fresh, unworn English language allowed poets to achieve a "hermetic gift" of expression that modern writers struggle to replicate.

The narrative arc moves through individual profiles of the major playwrights. Marlowe is presented as a transformative, if erratic, pioneer whose "Dr. Faustus" serves as a landmark study of the degradation of a soul driven by intellectual pride and the hunger for infinite power. The author traces how Marlowe’s verse and historical subjects provided the scaffolding upon which Shakespeare would eventually build his own masterpieces.

Next, the focus shifts to the darker, more intricate textures of Webster, whose work is celebrated for its gentlemanly dignity and psychological depth, even amidst scenes of profound tragedy. The discussion then turns to Chapman, characterized as an original, albeit "obtrusively metaphysical" poet, whose "holy fury" and grandiloquent style render him a difficult but rewarding subject. His translation of Homer, in particular, is lauded for its raw energy and stalwart, idiosyncratic spirit.

The investigation continues with the collaborative brilliance of Beaumont and Fletcher, the "double stars" of the dramatic firmament, whose joint efforts produced works of remarkable, lingering charm. Finally, the focus lands upon the works of Massinger and Ford. Through these chapters, the author explores the tension between the dramatists’ occasional lapses into coarseness and their reach toward an idealized world of honor and noble sentiment.

The journey concludes with a meditation on the nature of imaginative literature. The author posits that the true value of these old plays lies not in their historical accuracy or perfect construction, but in their ability to provide a sanctuary for the reader. By presenting a world where noble purpose and ethereal sentiment are possible, these dramatists offer a necessary respite from the "world of the newspapers." The book asserts that, despite their failures in plot or morality, these writers possessed a creative vitality that continues to resonate with those who look to literature to invigorate the ideal part of the human spirit.

How It Unfolds

The cultural landscape The opening section establishes the historical milieu, contrasting the English stage with the Spanish tradition of Calderon and the formative influences of classical models. It sets the stage by highlighting the unique vitality of the English language during this period, describing it as "bright from the die."

The Marlowe connection The author transitions into a personal reflection on the power of Christopher Marlowe, detailing his role as a precursor to Shakespeare. The analysis of "Dr. Faustus" illustrates how the playwright captured the intellectual cravings of the Renaissance man.

The dramatist’s craft A critical beat examines the structural failings of the era’s plays, noting that these writers often prioritized expansive action over tight, logical plotting. The author uses Ben Jonson’s theories of dramatic construction to highlight the "unskilled or negligent" nature of his contemporaries in matters of fable and design.

The gentlemanly ideal The narrative moves to the works of Webster and others, focusing on the portrayal of honor and devotion. This section analyzes the "noobly grave" nature of character interactions, emphasizing a level of sentiment that transcends the common grit of the period.

The sanctuary of art The final movement reflects on the moral and aesthetic character of the playwrights, specifically Massinger. It reconciles the "foulness" of some of their characters with the "inspiring air" of their higher creative visions, concluding that literature’s ultimate purpose is to offer an escape into a more perfect, imaginative reality.

The People

The book focuses on the "old English dramatists" as a community of thinkers and poets rather than strictly biographical subjects. Marlowe stands out as the primary catalyst, a "deboshed fellow" whose raw, impassioned voice acted as a beacon for his peers. His Faustus represents the archetype of the human spirit caught between divine potential and the inevitable, grinding descent into moral emptiness.

Webster is depicted as a man of refined sensibility, bringing a "gentlemanlike" poise to his tragedies. In contrast, Chapman is portrayed as a lofty, impetuous figure—a man of "holy fury" whose writing reflects his own deep, if sometimes loud, intellectual confidence. The partnership of Beaumont and Fletcher provides a case study in artistic symbiosis, where two distinct voices become so thoroughly woven that their individual contributions are indistinguishable.

Massinger is analyzed as a poet who, despite his occasional descent into repulsive themes, consistently aspires to a world of "honor, courage, and devotion." Through these figures, the author illustrates a broad spectrum of human temperament, from the "robustious" and aggressive orator to the subtle, sensitive observer of human grief. Each, in his own way, seeks to define the limits of human ambition and the endurance of the soul against the backdrop of an often cruel and unforgiving world.

In Its Own Voice

"Infinite riches in a little room."

This line from Marlowe’s The Jew of Malta is used to encapsulate the playwright’s ability to condense the vast, avaricious dreams of his characters into a singular, memorable image.

"I think, on the whole, that it is fortunate for us that our judgment of what the old dramatists did should be so little disturbed by any misinformation as to what they were."

The author offers this reflection when discussing the dangers of judging the character of these poets based on the incomplete and often unreliable accounts of their personal lives.

"It appears to me that it is the business of all imaginative literature to offer us a sanctuary from the world of the newspapers, in which we have to live, whether we will or no."

This sentiment anchors the author’s argument that art should serve as an escape into a higher, more idealistic state of being.

What It's Really About

At its heart, the book explores the nature of genius and the function of art as a spiritual refuge. The author investigates why these particular plays, despite being structurally flawed and often disconnected from the "actual world," continue to possess a "witchery" that captivates the cultivated memory. The underlying question is one of utility: what does literature owe to the reader? By defending the dramatists against the strictures of contemporary morality and rigid classical rules, the author argues that the primary obligation of the poet is to create a space for noble, if impossible, human aspirations, thereby providing a necessary counterweight to the mundane realities of the everyday.

Why Read It Today

Readers who love the intersection of literary history and personal memoir will find this book deeply engaging. The writing is warm and inviting, possessing the conversational ease of a lecture delivered by a mind that has lived with these texts for decades. However, the reader should be prepared for the author’s unvarnished honesty; he does not shy away from the "foulness" or "bombast" in the plays, nor does he hide his own biases, such as his youthful "bewitchment" by Marlowe.

The text requires a patient reader, as it assumes a familiarity with the Elizabethan canon and does not offer a modern summary of every plot point. Furthermore, the author’s Victorian-era perspective on "in-human nature" and his tendency to draw moral conclusions from a playwright’s perceived temperament may feel distant to contemporary sensibilities. Yet, the reward for this patience is an intimate encounter with a classic critical voice. The book stays with you not because it provides an encyclopedic catalog of facts, but because it captures the feeling of reading these poets—the delight of finding a glimmer of beauty in a "jelly" of rubbish, and the quiet satisfaction of discovering a sanctuary in the written word. It is a work that values the human experience of reading as much as the literature itself.