a dramatist in the English Renaissance theatre, most famous for his collaborations with John Fletcher.
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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.
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A faint gleam of humour passed over her face as she said: "Bring Beaumont and Fletcher's Maid's Tragedy, and the Mourning Bride, and—let me see—Night Thoughts, and the Vanity of Human Wishes."
Thomas Hardy. Far from the Madding Crowd (1874)
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"Since I can do no good because a woman,
Reach constantly at something that is near it.
—The Maid's Tragedy: BEAUMONT AND FLETCHER.
George Eliot. Middlemarch
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He gave them then a much admirable hymen minim by those delicate poets Master John Fletcher and Master Francis Beaumont that is in their Maid’s Tragedy that was writ for a like twining of lovers: To bed, to bed was the burden of it to be played with accompanable concent upon the virginals.