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Updated: June 16, 2025
But if you, and a few feverish men, in top hats, running about in a street in London, choose to differ as to the ideal itself, not only from the Church, but from the Parthenon whose name means virginity, from the Roman Empire which went outwards from the virgin flame, from the whole legend and tradition of Europe, from the lion who will not touch virgins, from the unicorn who respects them, and who make up together the bearers of your own national shield, from the most living and lawless of your own poets, from Massinger, who wrote the Virgin Martyr, from Shakespeare, who wrote Measure for Measure if you in Fleet Street differ from all this human experience, does it never strike you that it may be Fleet Street that is wrong?"
The Reckoning MONTR. The father is victorious. BELF. Let us haste To gratulate his conquest. 1ST CAPT. We to mourn The fortune of the son. MASSINGER. The Unnatural Combat. Poor Mr. Bultitude, springing wildly upstairs in a last desperate effort to avoid capture, had now almost reached his goal.
The "Fair Penitent" has been noticed as a clever plagiarism from Massinger; in Addison's "Cato" the strict rules of the French stage were preserved, but its stately and impressive speeches cannot be called dramatic. The "Revenge" of Young had more of tragic passion; but it wanted the force of characterization which seemed to have been buried with the old dramatists.
He joined with Fletcher and Johnson in a play called The Widow, and the highest honour that is known of this poet, is, his being admitted to make a triumvirate with two such great men: he joined with Massinger and Rowley in writing the Old Law; he was likewise assisted by Rowley in writing three plays . We have not been able to find any particulars of this man's life, further than his friendship and connection already mentioned, owing to his obscurity, as he was never considered as a genius, concerning which the world thought themselves interested to preserve any particulars.
Donne, Abraham Cowley, Berlarmine, Charles Cotton, John Pym, John Hales, Kepler, Vieta, Albericus Gentilis, Paul Sarpi, Arminius; with all of whom exists some token of his having communicated, without enumerating many others, whom doubtless he saw, Shakspeare, Spenser, Jonson, Beaumont, Massinger, two Herberts, Marlow, Chapman and the rest.
Fletcher does not repeat himself often, and these two exceptions are important. IV. 4, is apparently by Massinger, but contains no repetitions. IV. 5, is by Massinger. There are no clear Massingerisms, but the metrical style, and the allusion to Raleigh already mentioned, make it plain that the Scene is his. V. 1, is also Massinger's.
His first tragedy, Albovine, King of the Lombards, was brought out in 1629; and his earlier work was therefore contemporary with that of Massinger and Ford. But much beyond this his relation to the Elizabethans can hardly claim to go.
Raleigh, Milton, Sidney, Selden, Burton, Browne and Cowley. Dramatic Poetry: Marlowe and Greene, Shakspeare, Beaumont and Fletcher, Ben Jonson, and others; Massinger, Ford, and Shirley; Decline of the Drama. Non-dramatic Poetry: Spenser and the Minor Poets. Lyrical Poets; Donne, Cowley, Denham, Waller, Milton. 3. Prose: Leighton, Tilotson, Barrow, Bunyan, Locke and others.
The first mention of forks in France is in the Inventory, of Charles V., in 1379. We hear a great deal about the promiscuous use of knives before forks were invented; how in the children's book of instructions they are enjoined "pick not thy teeth with thy knife," as if it were a general habit requiring to be checked. Massinger alludes to a "silver fork To convey an olive neatly to thy mouth,"
We were not there for that beauty, however, but for John Harvard's sake; yet no sooner were we fairly inside the church than our thoughts were rapt from him to such clearer fames as those of Philip Massinger, the dramatist; Edmund Shakespeare, the great Shakespeare's younger brother; John Fletcher, of the poetic firm of Beaumont and Fletcher; the poet Edward Dyer; and yet again the poet John Gower, the "moral Gower" who so insufficiently filled the long gap between Chaucer and Spencer, and who rests here with a monument and a painted effigy over him.
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