Robes loosely flowing, hair as free; They strike mine eyes but not my heart. The Silent Woman. TO CELIA. 'Da mi basia mille, deinde centum,' &c. KISS me, sweet, the wary lover When youths ply their stolen delights: * An imitation of the Ode of Catullus: Vivamus, mea Lesbia, atque amemus,' &c. The Forest. FLETCHER. 1576--1625. PRINCIPAL WORKS: The Maid's Tragedy (written conjointly with his friend Beaumont); a fine tragedy characterised by the fashionable licence of thought and diction.-The Faithful Shepherdess, a pastoral drama, besides its own intrinsic beauties, interesting as the model, in some measure, of the Comus of Milton. Beaumont and Fletcher are names almost inseparably linked together in the history of literature. Between them they produced fifty-two dramatic pieces. Of all the dramatists succeeding Shakespeare, they approach nearest to him in richness of fancy and picturesque description. More irregular than Jonson's, their style possesses more of the luxuriance of 'Fancy's child.' Their title to be ranked amongst the few great names who have contributed to form the English language, and in the number of English classics, Dryden has pointed out in asserting that the English language in them arrived to its highest perfection. What words have since been taken in are rather superfluous than ornamental.' And he states that in his time, the latter half of the seventeenth century, so great was the popularity of Beaumont and Fletcher, that two of their plays were put upon the stage for one of Shakespeare's or Jonson's. A partiality which, considering the character of the age and the literary productions chiefly patronised, may perhaps be more justly attributed to the voluptuous painting than to the more solid merits of the authors of The Maid's Tragedy. CLORINDA AND SATYR. THROUGH yon same bending plain Since the lusty spring began, All to please my master Pan, Have I trotted without rest, To get him fruit: for at a feast And live therefore on this mould Deign it, goddess, from my hand Here be grapes whose lusty blood Is the learned poet's good, Sweeter yet did never crown The head of Bacchus; nuts more brown Than the squirrel whose teeth crack them: Deign, O fairest fair, to take them: For these, black-eyed Dryope Hath oftentimes commanded me Hath decked their rising cheeks in red, Such as on your lips is spread. These are of that luscious meat The great god Pan himself doth eat: All these, and what the woods can yield, I freely offer, and ere long Will bring you more, more sweet and strong: Lest the great Pan do awake, Swifter than the fiery sun. (Clorinda loq.) And all my fears go with thee. What greatness, or what private hidden power, Is there in me to draw submission From this rude man and beast ?-sure I am mortal, The daughter of a shepherd; he was mortal, And she that bore me mortal: prick my hand And it will bleed; a fever shakes me, and The self-same wind that makes the young lambs shrink Makes me a-cold: my fear says I am mortal. Yet I have heard (my mother told it me) And now I do believe it, if I keep My virgin flower uncropt, pure, chaste, and fair, No goblin, wood-god, fairy, elf, or fiend, Satyr, or other power that haunts the groves, Shall hurt my body, or by vain illusion Draw me to wander after idle fires, Or voices calling me in dead of night To make me follow, and so tole me on Through mire and standing pools, to find my ruin. That break their confines. Then, strong Chastity, The Faithful Shepherdess. AMORET AND PERIGOT APPOINT TO MEET AT THE VIRTUOUS WELL. (Amoret loq.) SHEPHERD, So far as maiden's modesty (Perigot loq.) I take it as my best good; and desire, To meet this happy night in that fair grove, to that holy wood is consecrate A Virtuous Well, about whose flowery banks |