The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume VI. The Drama to 1642, Part Two.
§ 11. Rowleys influence on Middleton
On the title-page of A new Wonder, Rowley is described as “one of his Majesties Servants”; he is mentioned among the principal actors in The Maid in the Mill; in The Inner-Temple Masque, he played Plumporridge; and, in the list of persons in Alls Lost by Lust, we are told that Jaques, “a simple clownish gentleman,” was “personated by the poet.” In the plays which he wrote in collaboration with Middleton, his hand has been most generally traced in the comic underplots, and, sometimes, as a disturbing element there, working for hardly more than the ears of the groundlings. In the low peasants’ humour, earthy and almost animal, over which he takes much trouble in all these plays, sometimes making it really droll, always making it emphatic and telling, there seems to have been something which he really cared to do, perhaps because it was what he could represent best on the stage. In the two chief plays which he wrote by himself, he wove comic prose not ineffectively into more serious substance; but in A Shoo-maker a Gentleman and, indeed, in most of the work done with Middleton, it stands out in sharp contrast. And this is the more curious, as we shall find unmistakable signs of a very different kind of influence exercised by him upon precisely that serious substance.
For it is not as a comic poet that Rowley is most himself, or most admirable. Of his two remaining plays, one is a heroic tragedy and the other a pathetic domestic comedy; and we find in both, very differently exhibited, the same qualities of sincerity and nobility, often turning to uncouthness or exaggeration, but never, as in Middleton, losing the moral sense, the honesty of insight. The action in each is strained beyond probability, and in one becomes barbarous, in the other artificial; the verse follows the action, and halts not only through the treasons of a more than usually treacherous printer. Yet, as the verse is but an emphasis upon profoundly felt speech, so the action rests always on a strong human foundation.
In Alls Lost by Lust (which deals with a subject made more famous by Landor in Count Julian), Rowley shows himself poet by his comprehension of great passions, his sympathy with high moods, and by a sheer and naked speech, which can grasp filth or heroism with equal strength. He has no measure, though sometimes constraint; no subtlety, though he will set consciences or clowns arguing in terms of strange pedantry; no sentiment, though he has all the violences of direct emotion; and he says what he wants to say and then stops. He has no ease or grace, and often labours to give point to his humour and weight to his serious utterances. The kind of verse that characterises him at his best is
In A new Wonder, of which the scene lies in London, and which shows us the strange vehement passions, both petty and ardent, of business men, their small prides and large resolutions, we have a speech more easily on the level of the occasion, whether in this heightened way:
Now, if we begin to look for the influence of Rowley upon Middleton, we shall find it not so much in the set scenes of low comedy which he inserted among Middleton’s verse, as in a new capacity for the rendering of great passions and a loftiness in good and evil which is not to be recognised as an element in Middleton’s brilliant and showy genius, and which hardly survives the end of his collaboration with Rowley. The whole range of subject suddenly lifts; a new, more real and more romantic world (more real and more romantic because imagination, rather than memory, is at work) is seen upon the stage; and, by some transformation which could hardly have been mere natural growth, Middleton finds himself to be a poet.