Fletcher's principal source, however, was, as the title tells us, Guarini's Pastor Fido.
The Faithful Shepherdess is a charming idyl, too airy and delicate to have an immediate success with his own generation, but it may be read with pleasure to this day, and has secured lasting fame to its author. Ben Jonson's later but also admirable pastoral play, The Sad Shepherd, is the English poem of that period which most resembles it.
Immediately after the production of this little tragi-comedy, Fletcher offered to the Globe Theatre the most remarkable work which had resulted from the combined labours of himself and Francis Beaumont—The Maid's Tragedy.
The first act opens with the preparations for a wedding festivity. The king has commanded the worthy and distinguished Lord Amintor to break off his engagement to the gentle and devoted Aspasia and to marry Evadne, the beautiful sister of his dearest friend and comrade, the great general Melantius. Amintor, to whom the king's command is sacred, and who is, moreover, strongly attracted by Evadne, breaks with Aspasia, dear as she is to him. We witness Aspasia's deep grief, the outburst of rage on the part of her father (the cowardly Calianax), and the performance of the masque on the eve of the wedding, in which some of the poets' sweetest lyrics are to be found.
The second act represents the wedding-night. The disrobing of the bride by her friends, and all the fun and banter attendant on the occasion, form the introduction. Then follows, between bridegroom and bride, the first great scene of the play, as boldly dramatic as any written by Shakespeare before or Webster after this date. Amintor approaches Evadne with tender words, she gently repulses him. He strives to disarm what he supposes to be her bashfulness, but she tells him calmly and coldly that she will never be his. Still he does not understand, and now urges her with impatient desire. Then she rises, like a serpent about to sting, and coldly hisses that she is, and will continue to be, the king's mistress, that the marriage has merely been arranged by him as a screen for his relations with her. The fury and thirst for revenge which seizes Amintor when he realises this outrage gives way to a desperate comprehension that it is the king who has dishonoured him; to a subject the person of the king is inviolable.
The third act opens with an audacious visit from the king on the following morning. With cool patronage he asks Amintor if the night has given him satisfaction. Amintor replies composedly, and answers the king's more particular inquiries quite in the style of the happy husband. It is now the king's turn to be disconcerted. He sends for Evadne and violently accuses her of treachery, against which she, of course, passionately protests. The king, beside himself with rage, sends for Amintor; he is furiously attacked by Evadne for his falsehoods, and the king brutally explains the situation and the part the husband is expected to play. This double scene is written in a masterly fashion, with a strong sense of dramatic effect, but the rest of the act is worthess, being chiefly composed of dialogues between Amintor and Melantius, who learns the truth about his sister from his friend. The two are perpetually drawing upon each other and sheathing their swords again; firstly, because Melantius will not believe in his sister's shame; secondly, because Amintor will not allow Melantius to seek any revenge which will reveal his dishonour. It all reads like a weak imitation of the Spanish dramatists before Calderon.
The fourth act presents another series of effective scenes. The brother accuses the sister of her infamy, and when she coldly denies everything he threatens her with his sword, until she vows that she will take bloody vengeance on the cruel and vicious king who has brought about her degradation. Then the suddenly converted Evadne falls upon her knees and implores her husband's forgiveness, which he, seeing how bitterly she repents the life she has been living, accords. This is followed by a particularly well-imagined scene, in which the ridiculous old Calianax, who hates Melantius, denounces him to the king for his attempt to persuade him, Calianax, to give up the city he held for the monarch. In spite of its truth, Melantius listens to the accusation quite imperturbably, and succeeds in giving it the appearance of being merely the ramblings of an old dotard.
In the fifth act is a skilfully prepared Judith scene—the second great scene of the play. Evadne goes to the king's chamber, passing through the anteroom, which resounds with the profligate jests of the courtiers. The authors linger with a certain voluptuous cruelty over the scene between the king, who does not awake from his sleep until his hands have been tied to the bed, and the woman who has been his mistress, and who now tortures him with scathing words before she murders him. The remaining scenes are marred by their excessive sensationalism. Aspasia, disguised as her brother, seeks Amintor, from whom she can no longer be separated. He receives her with warm cordiality, but she taunts, strikes, and even kicks him, wishing to attain, if possible, the happiness of dying by his hand. He finally loses patience and draws his sword upon her, seeing too late that it is his beloved whom he has slain. Evadne now appears, red-handed and glowing with love, but Amintor repulses her with horror, she is stained with that greatest of all crimes, regicide. She kills herself in despair, and Amintor also dies by his own hand.
Aspasia is the perpetually slighted young woman who appears, always resigned and gentle, in all Beaumont and Fletcher's plays. The old coward Calianax is another of their standing characters. The brotherhood between Melantius and Amintor possesses, in spite of its occasional artificiality, some interest for us, as does the corresponding friendship in the Two Noble Kinsmen, from the fact that the mutual relations between the authors evidently served as the prototype in both cases. Evadne's character, if not completely intelligible, is entirely hors ligne, and most admirably suited to dramatic treatment. The play indeed is a model of everything which dramatic and theatrical treatment requires, and was well calculated to impress an audience for whom Shakespeare's art was too refined.
We cannot, therefore, be surprised that the friend and fellow-craftsman of the two poets, who was the first to publish a collected edition of their works after their death, should write the following words without fear of contradiction: "But to mention them is to throw a cloud upon all former names and benight posterity; this book being, without flattery, the greatest monument of the scene that time and humanity have produced, and must live, not only the crown and sole reputation of our own, but the stain of all other nations and languages" (Shirley's address to the reader).