purposes of indignant
reprobation by modern critics, that Beaumont and Fletcher 'understood
and imitated the conversation of gentlemen much better' (than
Shakespeare); 'whose wild debaucheries and quickness of wit in repartees
no poet can ever paint as they did.' It is, of course, easy enough to
reply that in the true sense of the word 'gentleman' Shakespeare's
heroes are incomparably superior to those of his successors; but then
this is just the sense in which Dryden did not use the word. His real
meaning indicates a very sound piece of historical criticism. Fletcher
describes a new social type; the 'King's Young Courtier' who is
deserting the good old ways of his father, the 'old courtier of the
Queen.' The change is but one step in that continuous process which has
substituted the modern gentleman for the old feudal noble; but the step
taken at that period was great and significant. The chivalrous type,
represented in Sidney's life and Spenser's poetry, is beginning to be
old-fashioned and out of place as the industrial elements of society
become more prominent. The aristocrat in the rising generation finds
that his occupation is going. He takes to those 'wild debaucheries'
which Dryden oddly reckons among the attributes of a true gentleman; and
learns the art of 'quick repartee' in the courtly society which has time
enough on its hands to make a business of amusement. The euphuism and
allied affectations of the earlier generation had a certain grace, as
the external clothing of a serious chivalrous sentiment; but it is
rapidly passing into a silly coxcombry to be crushed by Puritanism or
snuffed out by the worldly cynicism of the new generation. Shakespeare's
Henry or Romeo may indulge in wild freaks or abandon themselves to the
intense passions of vigorous youth; but they will settle down into good
statesmen and warriors as they grow older. Their love-making is a phase
in their development, not the business of their lives. Fletcher's heroes
seem to be not only occupied for the moment, but to make a permanent
profession of what with their predecessors was a passing phase of
youthful ebullience. It is true that we have still a long step to make
before we sink to the mere _roue_, the shameless scapegrace and cynical
man about town of the Restoration. To make a Wycherley you must distil
all the poetry out of a Fletcher. Fletcher is a true poet; and the
graceful sentiment, though mixed with a coarse alloy, still repels th