摘要：This essay explores the ‘lives’ of Francis Beaumont at the point of the four hundredth anniversary of his death, through elegies by John Earle and Thomas Pestell and hitherto unknown and newly interpreted biographical information that sheds fresh light on the relationship between his life and works. Focusing in particular on his plays The Scornful Lady and The Woman Hater, it argues that Beaumont and his regular collaborator, John Fletcher, mix (auto)biographical allusions with satire and fantasy. This analysis offers new perspectives on the ways in which their imaginations were sparked by their lived experience.
