Whether or not his friends would have
reclaimed for him the credit of this scene, had they known it (as they
must have known it) to be his due, I must repeat that such a miraculous
example of a man's genius for once transcending itself and for ever
eclipsing all its other achievements appears to me beyond all critical,
beyond all theological credulity. Pathos and concentration are surely
not among the dominant notes of Fletcher's style or the salient qualities
of his intellect. Except perhaps in the beautiful and famous passage
where Hengo dies in his uncle's arms, I doubt whether in any of the
variously and highly coloured scenes played out upon the wide and
shifting stage of his fancy the genius of Fletcher has ever unlocked the
source of tears. Bellario and Aspatia were the children of his younger
colleague; at least, after the death of Beaumont we meet no such figures
on the stage of Fletcher. In effect, though Beaumont had a gift of grave
sardonic humour which found especial vent in burlesques of the heroic
style and in the systematic extravagance of such characters as Bessus,
{89} yet he was above all things a tragic poet; and though Fletcher had
great power of tragic eloquence and passionate effusion, yet his comic
genius was of a rarer and more precious quality; one _Spanish Curate_ is
worth many a _Valentinian_; as, on the other hand, one _Philaster_ is
worth many a _Scornful Lady_.
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