Beaumont and Fletcher folios


The Beaumont and Fletcher folios are two large folio collections of the stage plays of John Fletcher and his collaborators. The first was issued in 1647, and the second in 1679. The two collections were important in preserving many works of English Renaissance drama.

The first folio, 1647

The 1647 folio was published by the booksellers Humphrey Moseley and Humphrey Robinson. It was modelled on the precedents of the first two folio collections of Shakespeare's plays, published in 1623 and 1632, and the first two folios of the works of Ben Jonson of 1616 and 1640–1. The title of the book was given as Comedies and Tragedies Written by Francis Beaumont and John Fletcher Gentlemen, though the prefatory matter in the folio recognised that Philip Massinger, rather than Francis Beaumont, collaborated with Fletcher on some of the plays included in the volume. Seventeen works in Fletcher's canon that had already been published prior to 1647, and the rights to these plays belonged to the stationers who had issued those volumes; Robinson and Moseley therefore concentrated on the previously unpublished plays in the Fletcher canon.
Most of these plays had been acted onstage by the King's Men, the troupe of actors for whom Fletcher had functioned as house dramatist for most of his career. The folio featured a dedication to Philip Herbert, 4th Earl of Pembroke, signed by ten of the King's Men – John Lowin, Joseph Taylor, Richard Robinson, Robert Benfield, Eliard Swanston, Thomas Pollard, Hugh Clark, William Allen, Stephen Hammerton, and Theophilus Bird – all idled by the closing of the theatres in 1642. It also contained two addresses to the reader, by James Shirley and by Moseley, and 37 commendatory poems, long and short, by figures famous and obscure, including Shirley, Ben Jonson, Richard Lovelace, Robert Herrick, Richard Brome, Jasper Mayne, Thomas Stanley, and Sir Aston Cockayne.
The 1647 folio contains 35 works – 34 plays and 1 masque.
The 1647 folio has attracted significant attention from scholars and bibliographers, and various specialised studies of the folio have been written. As with Shakespeare's First Folio, the typesetting of individual compositors and the work of individual printers has been traced and analysed – including that of Susan Islip, one of the rare instances of a female printer in the 17th century.

The second folio, 1679

The second folio, titled Fifty Comedies and Tragedies, was published by the booksellers Henry Herringman, John Martyn, and Richard Marriot; the printing was done by J. Macock. The three stationers had obtained the rights to previously-published works, and added 18 dramas to the 35 of the first folio, for a total of 53. The second folio added features that the first lacked. Many songs in the plays were given in full. Cast lists were prefixed to 25 of the dramas, lists that provide the names of the leading actors in the original productions of the plays. These lists can be informative on the companies involved and the dates of first productions; the cast list prefixed to The Honest Man's Fortune, for example, reveals that the play was originally staged by the Lady Elizabeth's Men in the 1612–13 period.
On the negative side, the texts in the second folio were set into type from the previously-printed quarto texts, and never from manuscript; the texts of the plays in the first collection were printed from manuscript sources.

Content, authorship, and canon

The implicit canon, nearly realized by the contents of the second folio, comprises dramatic works written by Beaumont or Fletcher; either alone, together, or in collaboration with other playwrights. By this rule, likely, four plays should be excluded, and three more extant plays should be included. A Very Woman was printed in a volume of Massinger's plays in 1655, while Sir John van Olden Barnavelt remained in manuscript until the 19th century. Henry VIII was first published in the Shakespeare First Folio of 1623.
At least five plays, no longer extant, may also belong in the canon. Four of these were entered to Moseley in the Stationers' Register between 1653 and 1660, possibly with the intent of printing them in the second folio: Cardenio, A Right Woman, The Wandering Lovers, and The Jeweler of Amsterdam. A fifth non-extant play, The Queen was questionably attributed to Fletcher by a contemporary.
The folios contain two works that are generally thought to be the work of Beaumont alone – The Knight of the Burning Pestle and The Masque of the Inner Temple and Gray's Inn – and fifteen that are solo efforts by Fletcher, and perhaps a dozen that are actual Beaumont/Fletcher collaborations. The rest are Fletcher's collaborations with Massinger and other writers.
;Notes
Title1st Act1st Pub16471679FletcherMassingerBeaumontOther
The Mad Lover1615-161647112x
The Spanish Curate1622164727xx
The Little French Lawyer1619-231647317xx
The Custom of the Country1620164745xx
The Noble Gentleman1624-261647540xx
The Captain1609-121647626xx
Beggars' Bush1615-22164779xxx
The Coxcomb1608-091647842xx
The False One1619-231647916xx
The Chances161716471020x
The Loyal Subject161816471113x
The Laws of Candy1619-2316471215Ford
The Lovers' Progress1621-2316471324xx
The Island Princess1619-2116471439x
The Humorous Lieutenant1619?16471510x
The Nice Valour1621-2416471650Middleton
The Maid in the Mill162316471733xRowley
The Prophetess162216471827xx
Bonduca1611-1416471929x
The Sea Voyage162216472043xx
The Double Marriage1619-2316472132xx
The Pilgrim1621?16472225x
The Knight of Malta1616-1916472334xxField
The Woman's Prize1609-1216472438x
Love's Cure162516472535xxx
The Honest Man's Fortune1612-1516472651xxField
The Queen of Corinth1616-1816472728xxField
Women Pleased1618-2116472836x
A Wife for a Month162416472923x
Wit at Several Weapons161316473044Middleton, Rowley
Valentinian1610-1416473118x
The Fair Maid of the Inn162516473245xxFord, Webster
Love's Pilgrimage1612-1516473331xxJonson
The Masque of the Inner Temple and Gray's Inn16121612?3452x
Four Plays, or Moral Representations, in One160816473553xField
The Maid's Tragedy161016191xx
Philaster160916202xx
A King and No King161116193xx
The Scornful Lady1612-1516164xx
The Elder Brother1625?16376xx
Wit Without Money161416398xShirley, Unknown
The Faithful Shepherdess16081609-1011x
Rule a Wife and Have a Wife1624164014x
Monsieur Thomas1612-15163919x
Rollo, Duke of Normandy1624-28163921xxField, Chapman, Jonson
The Wild Goose Chase1621?165222x
The Knight of the Burning Pestle1607161330x
The Night Walker1614164037xShirley
The Coronation1635164041Shirley
Cupid's Revenge1608161546xx
The Two Noble Kinsmen1613?163447xShakespeare
Thierry and Theodoret1613-21162148xxx
The Woman Hater1606160749xx
Henry VIII16131623xShakespeare
Barnavelt16191883xx
A Very Woman16341655xx

Later editions

The folios limited but did not extinguish the market for individual editions of the plays; such editions were printed when the chances for profit seemed favourable. Humphrey Robinson and Alice Moseley issued a quarto of Beggar's Bush in 1661, for example. During the Restoration era and into the 18th century, the plays in the Beaumont/Fletcher canon were very popular – though they were often performed in adapted versions rather than in the originals; and the adaptations then appeared in print. An adaptation of The Island Princess was published in 1669; and adapted version of Monsieur Thomas was printed in 1678. Beggar's Bush became The Royal Merchant, published in 1706 – and later, The Merchant of Bruges. This trend in favour of new adaptations over original versions made it easier for Herringman, Martyn, and Mariot to obtain permissions to reprint those originals in their 1679 collection.