The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume IV. Prose and Poetry: Sir Thomas North to Michael Drayton.
§ 14. The Two Noble Kinsmen: wealth of its sources and qualities
The only other play which calls for notice in this chapter is The Two Noble Kinsmen, the question of Shakespeare’s share in which has evoked more discussion than all the remaining doubtful plays together. It was first published in 1634 as the work of “the memorable worthies of their time, Mr. John Fletcher and Mr. William Shakespeare, Gent,” and the titlepage of this edition also informs us that it had been performed by the king’s players at the Blackfriars theatre. The famous Palamon and Arcite story which it reproduces had been dramatised before. Richard Edwards had written a Palamon and Arcyte as early as 1566, which was performed before Elizabeth by Oxford students on the occasion of the queen’s visit to the university in that year; but the account of this lost academic comedy, preserved in Anthony à Wood’s manuscripts and published in Nichols’s Progresses of Elizabeth, suggests that it was very different in character from The Two Noble Kinsmen. Nothing is known of the Palamon and Arsett mentioned by Henslowe as having been acted at the Newington theatre in 1594.
The Two Noble Kinsmen follows Chaucer’s Knight’s Tale as closely as an Elizabethan play can be expected to follow a fourteenth century verse romance; but the dramatists, deferring to the seventeenth century taste for a realistic underplot to a romantic theme, have added the story of the gaoler’s daughter, of which there is but the faintest hint in The Knight’s Tale. The element of divine caprice which lurks in Chaucer’s romance is by no means eliminated from the play. In the closing speech of the last scene, Theseus would fain convince us that, of the two rival kinsmen, Palamon has the better right to the lady—because he saw her first!—but the enduring impression which the play leaves upon the reader’s mind is that man is but the puppet of fortune. And if the dénouement of the play is unsatisfactory, so, also, are the characters. Palamon and Arcite, except in the scene in which they first appear, are not well distinguished from each other; Theseus, though he discourses fine poetry, is a stilted and a vacillating figure, and Emilia, a poor faded copy of Chaucer’s “Emelye the sheene,” would be more in her place as Hotspur’s comfit-maker’s wife than as a warrior’s bride. Finally, the underplot, the author of which endeavours to make up for his lack of invention by imitating familiar incidents in the plays of Shakespeare, is both unskilful and indelicate. Yet, with all these shortcomings—shortcomings which are largely due to the fact of double authorship—The Two Noble Kinsmen abounds in elements of greatness. It is a play which needs to be seen in order that the masque-like splendour of some of its scenes may be fully realised; but a mere perusal of it suffices to reveal its imaginative power, the ripeness and energy of the thought and the luminous colour of high romance in which it is steeped. Into it are poured the riches of classic legend, medieval romance, Elizabethan comedy and Jacobean masque, and, in the union of these varying elements, we recognise the genius of a dramatist who could subdue all things to harmony.
The problem of authorship is beset with difficulties, for, while it is certain that the play is the work of more than one author, it seems also probable that the workmanship of the two men is not sharply sundered, but that, in places, the hand of the one has been engaged in revising what the other had written. With the exception of Delius, who propounded the fanciful theory that The Two Noble Kinsmen is the work of an anonymous dramatist who deliberately set himself to imitate now the manner of Shakespeare and now that of Fletcher, critics are agreed that one of the two authors was Fletcher, and that to him may be allotted most of acts