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Updated: May 31, 2025
My performance of "The Fair Penitent" was entirely ineffective, and did neither me nor the theater any service; the play itself is a feeble adaptation of Massinger's powerful drama of "The Fatal Dowry," and, as generally happens with such attempts to fit our old plays to our modern stage, the fundamentally objectionable nature of the story could not be reformed without much of the vigorous and terrible effect of the original treatment evaporating in the refining process.
I wanted to open it, but 'tis transportation. I am sorry you are plagued about your book. I would strongly recommend you to take for one story Massinger's "Old Law." It is exquisite. I can think of no other. Dash is frightful this morning. He whines and stands up on his hind legs. He misses Becky, who is gone to town. I took him to Barnet the other day, and he couldn't eat his vittles after it.
I am much afraid my father will shock them with the speech of that scamp Mercutio in all its pristine purity and precision. Good-by, dear H . Ever your affectionate P.S. My mother desires to be particularly remembered to you. I want to revive Massinger's "Maid of Honor;" I want to act Camiola.
If she could have seen our Antoninus, when we gave the act from Massinger's most sweet and tender tragedy of the Virgin Martyr, or the noble Caesar, in our selections from Beaumont and Fletcher's False One, she would have been as ready with the guineas as she was in the case of the son of the dean of Christ Church. Our play at the last Commencement was Much Ado about Nothing.
Such is the fate of Brisac in Fletcher's Elder Brother, and of Ricardo and Ubaldo in Massinger's Picture. Sometimes, as in the Fatal Dowry and Love's Cruelty, the outraged honour of families is repaired by a bloody revenge.
They themselves republished Massinger's 'Virgin Martyr, because it was a pretty Popish story, probably written by a Papist for there is every reason to believe that Massinger was one setting forth how the heroine was attended all through by an angel in the form of a page, and how not to mention the really beautiful ancient fiction about the fruits which Dorothea sends back from Paradise Theophilus overcomes the devil by means of a cross composed of flowers.
Every pains has been taken to prove that the indecent scenes in the play were not written by Massinger, but by Dekker; on what grounds we know not. If Dekker assisted Massinger in the play, as he is said to have done, we are aware of no canons of internal criticism which will enable us to decide, as boldly as Mr. Gifford does, that all the indecency is Dekker's, and all the poetry Massinger's.
"Don't bring in my name, I pray, Miss Dundas," cried the viscount, who was looking over an old edition of Massinger's plays; "you know I hate being squeezed into squabbles." Miss Dundas dropped the corners of her mouth in contempt, and went on. "Well, then, Mr.
Mr. Gifford, in his introduction to Massinger's plays , was probably the spokesman of his own generation, certainly of a great part of this generation also, when he informs us, that 'with Massinger terminated the triumph of dramatic poetry; indeed, the stage itself survived him but a short time.
The end of this Scene I have not seen, as pages 296-305 were missing in the proof-sheets I examined. Nearly all Scene 2 is also missing. It and the rest of the play seem to be Fletcher's, who, as usual, spoiled Massinger's fine conception of Barnavelt, and makes him whine like Buckingham in Henry VIII. This moral collapse of all energy in the face of death in the two characters is significant.
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