320:
with
Cellide. When Valentine realizes this, he magnanimously resigns his interest in Cellide and consigns her to the younger man – though Cellide is not very pleased at being handed off in this way. The three characters enter into a tangle of complex emotions over their predicament: Valentine is torn between his affections for Cellide and for Francisco; Francisco is caught between his passion for Cellide, his friendship for Valentine, and his innate nobility of character. In the end, the problem is resolved by the revelation that Francisco is Valentine's long-lost son – which explains the older man's irrational bond with the younger. Valentine is content to lose a fiancée to gain a son and a daughter-in-law.
19:
328:
loves him, with outrageous behavior; she hopes he will abandon "his mad-cap follies." Yet toward his father, who is more than tolerant of young men sowing their wild oats, Thomas puts on a mask of sanctimony, merely to irritate and provoke. Mary eventually learns that she has to fight fire with fire, and submits Thomas to pranks and manipulations (including an instance of the "bed trick" famous from plays of the era) to teach him his lesson. Once his lesson has been learned, the reformed Thomas can make Mary a suitable husband.
177:
which makes no sense, since the character in question has been identified as "Frank" throughout the play. The nickname "Wild-oats" is applied to two different characters in two separate scenes; the
Dorothea of the first three Acts becomes Dorothy in the final two; other similar problems occur. This suggests that an earlier version of the play existed, in which Francisco was called Callidon, as in D'Urfé's novel. (See
327:
would later call Thomas "the spiritual father of all Angry lads, Rufflers, Blades, Bullies, Mohocks, Corinthians, and
Dandies...." Thomas is a typical Jacobean wild young man, a scapegrace and a ne'er-do-well...but with a difference. Out of sheer willfulness and sport, he torments Mary, the woman who
319:
Francisco barely arrives at
Valentine's home when he falls ill. (The play contains some satire on doctors and their treatments; it was this material that was abstracted to form the droll described above.) It soon becomes clear that Francisco's sickness is largely lovesickness: he had fallen in love
311:
The opening scene introduces
Valentine, a middle-aged man who has just returned home from foreign travels. He is somewhat anxious to see if his much younger fiancée, Cellide, has waited for him, and is relieved to learn that she is faithful. Valentine has brought home with him a young man he met on
176:
Though no sign of a second author or collaborator is present, the play does display the types of internal discontinuity that suggest revision – in this case, Fletcher's revision of his own earlier work. In the play's final scene, a character is addressed as "Francisco, now no more young
Callidon" –
312:
his travels, named
Francisco; he feels an unusually strong bond for the young man, a strangely intense affection. (The opening scene's conversations also reveal that Valentine is a widower who, years before, had lost a child "at sea / Among the
139:, without mentioning the company involved. Both the Register entry and the quarto assign the play's authorship to Fletcher alone, a verdict that is confirmed by the internal evidence of the text.
83:, and it is possible that Fletcher similarly saw Part 2 before 1610. Yet there is no direct evidence of this; and the simplest hypothesis is that Fletcher used the 1610 printed text of
449:
304:
The play's main plot, borrowed from the French novel, tells a tale of a romantic conflict between two men for one woman. The characters
Thamyre, Calydon, and Celidée of
571:
1155:
933:
442:
819:
435:
214:
in 1639. The total implication of these facts is the existence of two versions of the same
Fletcher play. Fletcher appears to have written
1145:
293:
564:
1069:
187:
76:
1074:
150:
1064:
770:
909:
640:
359:
The Later
Jacobean and Caroline Dramatists: A Survey and Bibliography of Recent Studies in English Renaissance Drama,
59:
Scholars date the play to the 1610–16 period. Fletcher's source for the play's plot was the second part of the novel
479:
44:
370:
206:. The revival probably inspired the drama's re-publication in a Croft's second quarto. In Q2, the play is titled
998:
798:
791:
672:
234:
three decades later, as various early plays did. Fletcher later produced a revised version of his play titled
346:
The Plays of Beaumont and Fletcher: An Attempt to Determine Their Respective Shares and the Shares of Others,
1102:
988:
826:
735:
223:
116:
18:
1024:
219:
64:
1040:
951:
885:
840:
519:
459:
36:
626:
142:
A second quarto, from the stationer Robert Crofts, is undated but is thought to have appeared c. 1661.
427:
262:(1642–60) when the London theatres were officially closed for full-length plays. The droll was called
1150:
978:
916:
756:
679:
923:
812:
742:
654:
499:
259:
195:
136:
833:
763:
749:
686:
633:
619:
605:
289:
203:
158:
154:
104:
94:
80:
68:
48:
598:
1084:
1032:
968:
944:
854:
721:
647:
281:
255:
227:
163:
1111:
1079:
961:
892:
612:
509:
486:
472:
324:
135:, also signed by Brome. The title page of the quarto states that the play was acted at the
1016:
591:
271:
267:
231:
211:
899:
847:
529:
514:
132:
1139:
805:
728:
707:
504:
179:
128:
124:
89:
862:
534:
494:
199:
323:
The play, however, derives its title from the protagonist of its secondary plot.
714:
168:
the two dramas share some characters' names (Francisco, Valentine, and Launce).
524:
87:
Part 2 as his source. (Fletcher also used D'Urfé's novel as a source for his
120:
186:
The hypothesis of revision is supported by other external evidence. The
693:
421:, London, Macmillan, 1873; reprinted Kessenger Publishing, 2004; p. 13.
40:
408:
Cambridge, MA, Harvard University Press, 1926; pp. 20, 39, 227-30.
313:
251:
17:
75:
circulated in manuscript form prior to its appearance in print;
431:
71:. It is true that, like many other literary works of the era,
183:
for another instance of Fletcher revising his earlier work.)
377:, 4 Volumes, Oxford, Clarendon Press, 1923; Vol. 3, p. 228.
161:. The play's plot resembles that of another Fletcher play,
361:
Lincoln, NE, University of Nebraska Press, 1978; p. 67.
127:. The 1639 quarto bears a commendatory poem written by
119:
on 22 January 1639, and published later that year in a
1128:†= Not published in the Beaumont and Fletcher folios
308:
become Fletcher's Valentine, Francisco, and Cellide.
1093:
1055:
1008:
872:
780:
664:
581:
556:
543:
79:read Part 1 of the novel in manuscript in February
284:produced an edited and simplified version called
276:(1673). And like many plays in Fletcher's canon,
280:was adapted into a new form in the Restoration;
406:Beaumont and Fletcher on the Restoration Stage,
348:New Haven, Yale University Press, 1927; p. 143.
395:Chambers, Vol. 3, p. 228; Oliphant, pp. 142–5.
226:a few years later; and that play descended to
210:A play by this title was in possession of the
145:Like other previously-printed Fletcher plays,
572:The Masque of the Inner Temple and Gray's Inn
443:
357:Terence P. Logan and Denzell S. Smith, eds.,
8:
934:Four Plays, or Moral Representations, in One
296:played the title role in D'Urfey's version.
123:printed by Thomas Harper for the bookseller
286:Trick for Trick, or The Debauch'd Hypocrite
553:
450:
436:
428:
157:, but was included in the second folio of
266:and was printed in the second volume of
337:
131:, and an Epistle to Fletcher's admirer
7:
984:with Massinger, Chapman & Jonson
292:), with a new beginning and ending.
1156:Plays by John Fletcher (playwright)
22:Title page of the first edition of
994:with Massinger, Ford & Webster
14:
264:The Doctors of Dull-Head College,
151:first Beaumont and Fletcher folio
565:The Knight of the Burning Pestle
99:, other plays of the same era.)
77:William Drummond of Hawthornden
67:, which was first published in
220:Children of the Queen's Revels
115:The play was entered into the
1:
1106:(Shakespeare & Fletcher?)
881:with Beaumont & Massinger
1075:Beaumont and Fletcher folios
47:that was first published in
1065:English Renaissance theatre
771:Rule a Wife and Have a Wife
238:likely for the King's Men.
1172:
905:with Massinger & Field
1146:English Renaissance plays
1126:
820:The Custom of the Country
467:
254:during the period of the
103:was "probably written by
1028:(Middleton & Rowley)
999:The Fair Maid of the Inn
910:The Honest Man's Fortune
799:The Little French Lawyer
673:The Faithful Shepherdess
1103:The History of Cardenio
989:Rollo, Duke of Normandy
736:The Humorous Lieutenant
250:was transformed into a
202:saw it on 28 September
1025:Wit at Several Weapons
404:Arthur Colby Sprague,
27:
952:The Two Noble Kinsmen
886:Thierry and Theodoret
460:Beaumont and Fletcher
375:The Elizabethan Stage
149:was omitted from the
21:
979:The Maid in the Mill
917:The Queen of Corinth
827:The Lovers' Progress
757:The Wild Goose Chase
386:Oliphant, pp. 144–5.
224:Lady Elizabeth's Men
117:Stationers' Register
1115:(possibly based on
924:The Knight of Malta
813:The Double Marriage
743:The Island Princess
655:The Noble Gentleman
500:William Shakespeare
344:E. H. C. Oliphant,
137:Blackfriars Theatre
834:The Spanish Curate
764:A Wife for a Month
634:A King and No King
627:The Maid's Tragedy
419:Plays and Puritans
417:Charles Kingsley,
222:, c. 1610, or the
39:era stage play, a
28:
1133:
1132:
1085:Humphrey Robinson
1051:
1050:
1033:The Laws of Candy
969:Wit Without Money
855:The Elder Brother
722:The Loyal Subject
680:The Woman's Prize
648:The Scornful Lady
641:Love's Pilgrimage
256:English Civil War
216:Father's Own Son,
208:Father's Own Son.
164:Wit Without Money
1163:
1112:Double Falsehood
1080:Humphrey Moseley
962:The Night Walker
939:with Shakespeare
554:
510:Thomas Middleton
487:Philip Massinger
473:Francis Beaumont
452:
445:
438:
429:
422:
415:
409:
402:
396:
393:
387:
384:
378:
368:
362:
355:
349:
342:
325:Charles Kingsley
236:Monsieur Thomas,
218:perhaps for the
1171:
1170:
1166:
1165:
1164:
1162:
1161:
1160:
1136:
1135:
1134:
1129:
1122:
1089:
1058:and publication
1057:
1047:
1017:The Nice Valour
1004:
874:
868:
782:
776:
701:Monsieur Thomas
660:
599:Cupid's Revenge
592:The Woman Hater
583:
577:
549:
547:
545:
539:
463:
456:
426:
425:
416:
412:
403:
399:
394:
390:
385:
381:
369:
365:
356:
352:
343:
339:
334:
302:
278:Monsieur Thomas
268:Francis Kirkman
248:Monsieur Thomas
244:
232:Cockpit Theatre
212:Cockpit Theatre
192:Monsieur Thomas
174:
147:Monsieur Thomas
113:
101:Monsieur Thomas
57:
55:Date and Source
32:Monsieur Thomas
24:Monsieur Thomas
12:
11:
5:
1169:
1167:
1159:
1158:
1153:
1148:
1138:
1137:
1131:
1130:
1127:
1124:
1123:
1121:
1120:
1107:
1097:
1095:
1091:
1090:
1088:
1087:
1082:
1077:
1072:
1067:
1061:
1059:
1053:
1052:
1049:
1048:
1046:
1045:
1041:The Coronation
1037:
1029:
1021:
1012:
1010:
1006:
1005:
1003:
1002:
995:
992:
985:
982:
975:
972:
965:
958:
955:
948:
940:
937:
930:
927:
920:
913:
906:
903:
896:
889:
882:
878:
876:
870:
869:
867:
866:
858:
851:
848:The Sea Voyage
844:
841:The Prophetess
837:
830:
823:
816:
809:
802:
795:
786:
784:
778:
777:
775:
774:
767:
760:
753:
746:
739:
732:
725:
718:
711:
704:
697:
690:
683:
676:
668:
666:
662:
661:
659:
658:
651:
644:
637:
630:
623:
616:
609:
602:
595:
587:
585:
579:
578:
576:
575:
568:
560:
558:
551:
541:
540:
538:
537:
532:
530:George Chapman
527:
522:
517:
515:William Rowley
512:
507:
502:
497:
491:
490:
483:
476:
468:
465:
464:
457:
455:
454:
447:
440:
432:
424:
423:
410:
397:
388:
379:
371:E. K. Chambers
363:
350:
336:
335:
333:
330:
301:
298:
282:Thomas D'Urfey
270:'s collection
246:Material from
243:
240:
228:Beeston's Boys
173:
170:
133:Charles Cotton
112:
109:
56:
53:
13:
10:
9:
6:
4:
3:
2:
1168:
1157:
1154:
1152:
1149:
1147:
1144:
1143:
1141:
1125:
1118:
1114:
1113:
1108:
1105:
1104:
1099:
1098:
1096:
1092:
1086:
1083:
1081:
1078:
1076:
1073:
1071:
1068:
1066:
1063:
1062:
1060:
1054:
1043:
1042:
1038:
1035:
1034:
1030:
1027:
1026:
1022:
1019:
1018:
1014:
1013:
1011:
1007:
1001:
1000:
996:
993:
991:
990:
986:
983:
981:
980:
976:
973:
971:
970:
966:
964:
963:
959:
956:
954:
953:
949:
947:
946:
941:
938:
936:
935:
931:
928:
926:
925:
921:
919:
918:
914:
912:
911:
907:
904:
902:
901:
897:
895:
894:
893:Beggars' Bush
890:
888:
887:
883:
880:
879:
877:
871:
865:
864:
859:
857:
856:
852:
850:
849:
845:
843:
842:
838:
836:
835:
831:
829:
828:
824:
822:
821:
817:
815:
814:
810:
808:
807:
806:The False One
803:
801:
800:
796:
794:
793:
788:
787:
785:
779:
773:
772:
768:
766:
765:
761:
759:
758:
754:
752:
751:
747:
745:
744:
740:
738:
737:
733:
731:
730:
729:Women Pleased
726:
724:
723:
719:
717:
716:
712:
710:
709:
708:The Mad Lover
705:
703:
702:
698:
696:
695:
691:
689:
688:
684:
682:
681:
677:
675:
674:
670:
669:
667:
663:
657:
656:
652:
650:
649:
645:
643:
642:
638:
636:
635:
631:
629:
628:
624:
622:
621:
617:
615:
614:
610:
608:
607:
603:
601:
600:
596:
594:
593:
589:
588:
586:
580:
574:
573:
569:
567:
566:
562:
561:
559:
555:
552:
542:
536:
533:
531:
528:
526:
523:
521:
518:
516:
513:
511:
508:
506:
505:James Shirley
503:
501:
498:
496:
493:
492:
489:
488:
484:
482:
481:
480:John Fletcher
477:
475:
474:
470:
469:
466:
461:
453:
448:
446:
441:
439:
434:
433:
430:
420:
414:
411:
407:
401:
398:
392:
389:
383:
380:
376:
372:
367:
364:
360:
354:
351:
347:
341:
338:
331:
329:
326:
321:
317:
315:
309:
307:
299:
297:
295:
291:
287:
283:
279:
275:
274:
269:
265:
261:
257:
253:
249:
241:
239:
237:
233:
229:
225:
221:
217:
213:
209:
205:
201:
197:
194:early in the
193:
189:
184:
182:
181:
180:Women Pleased
171:
169:
167:
165:
160:
156:
152:
148:
143:
140:
138:
134:
130:
129:Richard Brome
126:
125:John Waterson
122:
118:
110:
108:
106:
102:
98:
97:
92:
91:
90:The Mad Lover
86:
82:
78:
74:
70:
66:
65:Honoré d'Urfé
62:
54:
52:
50:
46:
45:John Fletcher
42:
38:
34:
33:
25:
20:
16:
1116:
1110:
1101:
1039:
1031:
1023:
1015:
997:
987:
977:
967:
960:
957:with Shirley
950:
943:
932:
922:
915:
908:
898:
891:
884:
863:A Very Woman
861:
853:
846:
839:
832:
825:
818:
811:
804:
797:
790:
781:Fletcher and
769:
762:
755:
748:
741:
734:
727:
720:
713:
706:
700:
699:
692:
685:
678:
671:
653:
646:
639:
632:
625:
618:
611:
604:
597:
590:
584:and Fletcher
570:
563:
550:conjectural)
548:attributions
535:John Webster
495:Nathan Field
485:
478:
471:
418:
413:
405:
400:
391:
382:
374:
366:
358:
353:
345:
340:
322:
318:
310:
305:
303:
294:Charles Hart
285:
277:
272:
263:
247:
245:
235:
215:
207:
200:Samuel Pepys
191:
185:
178:
175:
162:
146:
144:
141:
114:
100:
95:
88:
84:
72:
60:
58:
31:
30:
29:
23:
15:
1151:1610s plays
1056:Performance
1020:(Middleton)
974:with Rowley
900:Love's Cure
750:The Pilgrim
715:The Chances
687:Valentinian
620:The Captain
606:The Coxcomb
316:gallies.")
260:Interregnum
242:Adaptations
196:Restoration
111:Publication
96:Valentinian
43:written by
1140:Categories
1070:King's Men
945:Henry VIII
929:with Field
875:and others
525:Ben Jonson
332:References
188:King's Men
1044:(Shirley)
792:Barnavelt
783:Massinger
613:Philaster
520:John Ford
1117:Cardenio
873:Fletcher
665:Fletcher
582:Beaumont
557:Beaumont
300:Synopsis
273:The Wits
258:and the
190:revived
172:Revision
37:Jacobean
1094:Related
694:Bonduca
462:" Canon
230:at the
85:Astrée,
1036:(Ford)
1009:Others
306:Astrée
121:quarto
73:Astrée
61:Astrée
41:comedy
26:(1639)
546:(some
544:Plays
458:The "
314:Genoa
252:droll
198:era;
35:is a
290:1678
204:1661
159:1679
155:1647
105:1616
93:and
81:1607
69:1610
49:1639
153:of
107:."
63:by
1142::
373:,
51:.
1119:)
1109:â€
1100:â€
942:â€
860:â€
789:â€
451:e
444:t
437:v
288:(
166:;
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
