T. S. Eliot

“ Marlowe's and Jonson's comedies were a view of life; they were, as great literature is, the transformation of a personality into a personal work of art, their lifetime's work, long or short. Massinger is not simply a smaller personality: his personality hardly exists. He did not, out of his own personality, build a world of art, as Shakespeare and Marlowe and Jonson built.
In the fine pages which Remy de Gourmont devotes to Flaubert in his Problème du Style, the great critic declares:
La vie est un dépouillement. ”

“ He might almost have been a great realist; he is killed by conventions which were suitable for the preceding literary generation, but not for his. Had Massinger been a greater man, a man of more intellectual courage, the current of English literature immediately after him might have taken a different course. The defect is precisely a defect of personality. He is not, however, the only man of letters who, at the moment when a new view of life is wanted, has looked at life through the eyes of his predecessors, and only at manners through his own. ”

“ Conceded the utmost freedom, the romantic drama would yet remain inferior. The poetic drama must have an emotional unity, let the emotion be whatever you like. It must have a dominant tone; and if this be strong enough, the most heterogeneous emotions may be made to reinforce it. The romantic comedy is a skilful concoction of inconsistent emotion, a revue of emotion. A Very Woman is surpassingly well plotted. The debility of romantic drama does not depend upon extravagant setting, or preposterous events, or inconceivable coincidences; all these might be found in a serious tragedy or comedy. ”

“ Changes never come by a simple reinfusion into the form which the life has just left. The romantic drama was not a new form. Massinger dealt not with emotions so much as with the social abstractions of emotions, more generalized and therefore more quickly and easily interchangeable within the confines of a single action. He was not guided by direct communications through the nerves. Romantic drama tended, accordingly, toward what is sometimes called the "typical," but which is not the truly typical; for the typical figure in a drama is always particularized—an individual. ”

“ As soon as the emotions disappear the morality which ordered it appears hideous. Puritanism itself became repulsive only when it appeared as the survival of a restraint after the feelings which it restrained had gone. When Massinger's ladies resist temptation they do not appear to undergo any important emotion; they merely know what is expected of them; they manifest themselves to us as lubricious prudes. ”

“ One of the greatest distinctions of several of his elder contemporaries—we name Middleton, Webster, Tourneur—is a gift for combining, for fusing into a single phrase, two or more diverse impressions.
...in her strong toil of grace
of Shakespeare is such a fusion; the metaphor identifies itself with what suggests it; the resultant is one and is unique—
Does the silk worm expend her yellow labours?...
Why does yon fellow falsify highways And lays his life between the judge's lips To refine such a one? keeps horse and men To beat their valours for her? ”

“ To say that an involved style is necessarily a bad style would be preposterous. But such a style should follow the involutions of a mode of perceiving, registering, and digesting impressions which is also involved. It is to be feared that the feeling of Massinger is simple and overlaid with received ideas. Had Massinger had a nervous system as refined as that of Middleton, Tourneur, Webster, or Ford, his style would be a triumph. But such a nature was not at hand, and Massinger precedes, not another Shakespeare, but Milton. ”

“ We turn first to the parallel quotations from Massinger and Shakespeare collocated by Mr. Cruickshank to make manifest Massinger's indebtedness. One of the surest of tests is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different. ”

“ The good poet welds his theft into a whole of feeling which is unique, utterly different from that from which it was torn; the bad poet throws it into something which has no cohesion. A good poet will usually borrow from authors remote in time, or alien in language, or diverse in interest. Chapman borrowed from Seneca; Shakespeare and Webster from Montaigne. The two great followers of Shakespeare, Webster and Tourneur, in their mature work do not borrow from him; he is too close to them to be of use to them in this way. Massinger, as Mr. Cruickshank shows, borrows from Shakespeare a good deal. ”

“ The emotion of Othello in Act v. is the emotion of a man who discovers that the worst part of his own soul has been exploited by some one more clever than he; it is this emotion carried by the writer to a very high degree of intensity. Even in so late and so decayed a drama as that of Ford, the framework of emotions and morals of the time is only the vehicle for statements of feeling which are unique and imperishable: Ford's and Ford's only.
What may be considered corrupt or decadent in the morals of Massinger is not an alteration or diminution in morals ”

“ Le but de l'activité propre de l'homme est de nettoyer sa personnalité, de la laver de toutes les souillures qu'y déposa l'éducation, de la dégager de toutes les empreintes qu'y laissèrent nos admirations adolescentes ”

“ There is no reason why a comedy or a tragedy villain should not declare himself, and in as long a period as the author likes; but the sort of villain who may run on in this way is a simple villain (simple not simpliste) . Barabas and Volpone can declare their character, because they have no inside; appearance and reality are coincident; they are forces in particular directions. Massinger's two villains are not simple. Giles Overreach is essentially a great force directed upon small objects; a great force, a small mind ”

“ The tragedy of Massinger is interesting chiefly according to the definition given before; the highest degree of verbal excellence compatible with the most rudimentary development of the senses. Massinger succeeds better in something which is not tragedy; in the romantic comedy. A Very Woman deserves all the praise that Swinburne, with his almost unerring gift for selection, has bestowed upon it. ”

“ These lines of Tourneur and of Middleton exhibit that perpetual slight alteration of language, words perpetually juxtaposed in new and sudden combinations, meanings perpetually eingeschachtelt into meanings, which evidences a very high development of the senses, a development of the English language which we have perhaps never equalled. And, indeed, with the end of Chapman, Middleton, Webster, Tourneur, Donne we end a period when the intellect was immediately at the tips of the senses. Sensation became word and word was sensation. ”

“ The force is misapplied, attenuated, thwarted, by the man's vulgarity: he is a great man of the City, without fear, but with the most abject awe of the aristocracy. He is accordingly not simple, but a product of a certain civilization, and he is not wholly conscious. ”

“ Thou art a fool;
In being out of office, I am out of danger; Where, if I were a justice, besides the trouble, I might or out of wilfulness, or error, Run myself finely into a praemunire, And so become a prey to the informer, No, I'll have none of't ”

“ It is a person whom we can see and hear, whether he be true or false to human nature as we know it. What the creator of character needs is not so much knowledge of motives as keen sensibility; the dramatist need not understand people ”

“ In the Roman Actor the development of parts is out of all proportion to the central theme; in the Unnatural Combat, in spite of the deft handling of suspense and the quick shift from climax to a new suspense, the first part of the play is the hatred of Malefort for his son and the second part is his passion for his daughter. ”

“ The man is audible and visible. But from passages like the first we may be permitted to infer that Massinger was unconscious of trying to develop a different kind of character from any that Marlowe or Jonson had invented. ”