Francis Beaumont was born in 1584 near the small Leicestershire village of Thringstone. Unfortunately precise records of much of his short life do not exist.
He was the son to Sir Francis Beaumont of Grace Dieu, a justice of the common pleas. His mother was Anne, the daughter of Sir George Pierrepont.
The first date we can give for his education is at age 13 when he begins at Broadgates Hall (now Pembroke College, Oxford). Sadly, his father died the following year, 1598. Beaumont left university without a degree and entered the Inner Temple in London in 1600. A career choice of Law taken previously by his father.
The information to hand is confident that Beaumont’s career in law was short-lived. He was quickly attracted to the theatre and soon became first an admirer and then a student of poet and playwright Ben Jonson. Jonson at this time was a cultural behemoth; very talented and a life full of volatility that included frequent brushes with the authorities. His followers, including the poet Robert Herrick, were known as ‘the sons of Ben’. Beaumont was also on friendly terms with other luminaries such as the poet Michael Drayton.
Beaumont’s first work was Salmacis and Hermaphroditus, it debuted in 1602. A 1911 edition of the Encyclopædia Britannica includes the description "not on the whole discreditable to a lad of eighteen, fresh from the popular love-poems of Marlowe and Shakespeare, which it naturally exceeds in long-winded and fantastic diffusion of episodes and conceits."
By 1605, Beaumont had written commendatory verses to Volpone one of Ben Jonson’s masterpieces.
It was now, in the early years of the 17th Century, that he met John Fletcher and together they gradually formed one of the most dynamic and productive of writing teams that English theatre has ever produced.
Their playwriting careers at this stage were both troubled by early failure. Beaumont had written The Knight of the Burning Pestle and it was first performed by the Children of the Blackfriars company in 1607. The audience however was distinctly unimpressed. The publisher's epistle in the 1613 quarto says they failed to note "the privie mark of irony about it."
The following year, Fletcher's Faithful Shepherdess failed on the same stage.
In 1609, however, the two collaborated in earnest on Philaster. The play was performed by the King's Men at the Globe Theatre and at Blackfriars. It was a great success. Their careers were now well and truly launched and into the bargain they had ignited and captured a public taste for tragicomedy.
There is an account that at the time the two men shared everything. They lived together in a house on the Bankside in Southwark, " they also lived together in Bankside, sharing clothes and having "one wench in the house between them." Or as another account puts it “sharing everything in the closest intimacy."
This arrangement stopped in about 1613 when Beaumont married Ursula Isley, daughter and co-heiress of Henry Isley of Sundridge in Kent, by whom he had two daughters (one of them was born after his death).
Beaumont, at a very young age even for those times, was struck down by a stroke at some point in mid-1613, after which he was unable to write any more plays, but he did manage to write an elegy for Lady Penelope Clifton, who had died on 26th October 1613.
Francis Beaumont died on March 6th, 1616 and was buried in Westminster Abbey.
In his short life his canon was small but influential. Although he is seen more as a dramatist his poetry was celebrated even then and it continues to gain an avid readership to this day.
It was said at one point of the collaboration of Beaumont and Fletcher that "in their joint plays their talents are so ... completely merged into one, that the hand of Beaumont cannot clearly be distinguished from that of Fletcher." Whilst it was the view then it has not endured into modern times. Indeed, slowly but with certainty the name of Beaumont has been removed from many of their joint works. It has given way to other such luminaries as Philip Massinger, Nathan field and James Shirley.