View John fletcher’s profile on LinkedIn, the world's largest professional community. John has 3 jobs listed on their profile. See the complete profile on LinkedIn and discover John’s. THE JOHN FLETCHER STORY Part 1: 'Music for Everybody' (1900 – 1921) By Allan Sutton This article is a substantially expanded version of a.
Fletcher in 2006 | |
Background information | |
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Birth name | Andrew John Leonard Fletcher |
Also known as | Fletch |
Born | 8 July 1961 (age 58) Nottingham, England |
Origin | Basildon, England |
Genres | Alternative dance, synthpop, new wave, alternative rock, electronic rock, industrial rock |
Occupation(s) | Musician, manager, spokesperson, DJ |
Instruments | Synthesizer, bass, sampler |
Years active | 1977–present |
Labels | Mute Records Toast Hawaii |
Associated acts | Depeche Mode Client |
Andrew John Leonard Fletcher (born 8 July 1961), popularly known as 'Fletch', is an English keyboard player and one of the founding members of the electronic band Depeche Mode.
- 1Career
- 1.1Depeche Mode
Career[edit]
Depeche Mode[edit]
In the late 1970s, Fletcher and schoolmate Vince Clarke formed the short-lived band No Romance in China, in which Fletcher played bass guitar. In 1980, Fletcher met Martin Gore at the Van Gogh Pub on Paycocke Road in Basildon. With Clarke, the trio, now all on synthesizer, formed another group called Composition of Sound. Clarke served as chief songwriter and also provided lead vocals until singer Dave Gahan was recruited into the band later that year, after which they adopted the name Depeche Mode at Gahan's suggestion. Clarke left the group in late 1981, shortly after the release of their debut album Speak & Spell.
Their 1982 follow-up album, A Broken Frame, was recorded as a trio, with Gore taking over primary songwriting duties. Musician & producer Alan Wilder joined the band in late 1982 and the group continued as a quartet until Wilder's departure in 1995. Since then, the core trio of Gahan, Gore and Fletcher have remained active, most recently with the release of their 2017 album Spirit and ensuing world tour.[1]
Role[edit]
Fletcher's role within Depeche Mode has often been a topic of speculation. In early incarnations of the band, he played (electric and later synth) bass. As the band evolved after Vince Clarke's departure in 1981, Fletcher's role changed as each of the band members took to the areas that suited them and benefited the band collectively. In a key scene in D.A. Pennebaker's 1989 documentary film about the band, Fletcher clarifies these roles: 'Martin's the songwriter, Alan's the good musician, Dave's the vocalist, and I bum around.' In his review of 2005's Playing the Angel, long after Wilder's departure from the band, Rolling Stone writer Gavin Edwards riffed upon Fletcher's statement with the opening line: 'Depeche Mode's unique division of labor has been long established, with each of the three remaining members having a distinct role: Martin Gore writes the songs, Dave Gahan sings them and Andy Fletcher shows up for photo shoots and cashes the checks.'[2] Fletcher is the only member of the band (past and present) who has not received a songwriting credit. Fletcher continues to play a critical role within the band.[citation needed]
With the band having not always employed a full-time manager, Fletcher has handled many of the band's business, legal, and other non-musical interests over the years. In the EPK for Songs of Faith and Devotion, he discussed being genuinely interested in many of the business aspects of the music industry that other performing musicians shy away from, and as such, he took over a lot of the business management aspects of the band. In recent years, this has included acting as the band's 'spokesperson', with Fletcher often being the one to announce Depeche Mode news (such as record album and tour details).
He is also said to be the member who is 'the tiebreaker' and the one that 'brings the band together'. According to interviews, Fletcher built the compromise between Gahan and Gore that settled their serious dispute following 2001's Exciter album and tour over future songwriting duties within Depeche Mode.
In the studio and during live shows, Fletcher does contribute a variety of supporting synthesizer parts, including bass parts, pads, strings and drone sounds, and various samples.
However, he is notably the only member of Depeche Mode who does not sing. Although he can be seen singing in videos of Depeche's past live performances, usually Fletcher's vocals were either mixed very low or heard only through his own stage monitors.[3] From the band's 2013/14 Delta Machine Tour to the present, vocal mics are no longer present on his keyboard station.
On studio recordings, however, Fletcher's supporting vocals can be heard in some form or another on the majority of all Depeche Mode albums released since 1981.
Toast Hawaii album[edit]
According to anecdotes from various members of Depeche Mode (later quoted in a band biography), an Andy Fletcher 'solo album' entitled Toast Hawaii (named after Fletcher's favourite dish in Hansa Studio's cafeteria) was recorded in Berlin during the Some Great Reward sessions in 1984. According to these anecdotes, all the songs on the 'album' are cover songs on which Fletcher sings lead vocals. The 'album' allegedly features Alan Wilder and/or Martin Gore on piano, with an album cover photo by Wilder. The story then goes that Gore & Wilder presented the album to Mute Records' Daniel Miller and pleaded for him to release it.[4] In reality, this 'solo album' is almost certainly an in-joke, although it is not entirely unlikely that during studio 'downtime' from serious work, a diversion could have been making humorous recordings.
Toast Hawaii (record label)[edit]
In 2002, Fletcher launched his own record label, a Mute Recordsimprint called Toast Hawaii (again named for the dish) and signed the band CLIEИT. He coordinated the recording of their eponymous 2003 debut and 2004's City and also produced 'extended remixes' for their subsequent singles 'Price of Love,' 'Rock and Roll Machine,' 'Here and Now,' 'In It for the Money,' 'Radio' and 'Pornography' (featuring Carl Barât of The Libertines).
CLIEИT left the label in 2006 and no further activity with the Toast Hawaii label has occurred or been announced to date.
DJ career[edit]
Initially to support CLIEИT's live shows, Fletcher began touring as a DJ. Currently, when he is on hiatus from Depeche Mode, Fletcher plays occasional festivals and club gigs in Europe, Asia, South America and 'places where Depeche Mode haven't visited or been able to visit' and is known to include various exclusive Depeche remixes in his sets. A notable DJ set of Fletcher's from 2011 in Warsaw has been widely bootlegged.
In late 2015, Fletcher embarked on a small tour of European clubs.[5]
Personal life[edit]
Fletcher is the eldest of four siblings born to Joy and (the late) John Fletcher. The family moved to Basildon from Nottingham when Fletcher was two years old. He was active in the local Boys' Brigade from an early age, primarily to play football. It was in this Christian youth organisation that he met future Depeche Mode member Vince Clarke, and the two have both recollected in interviews the local missionary work they attempted on behalf of the organisation to convert non-believers.[6]
Fletcher married his longtime girlfriend Gráinne Mullan on 16 January 1991 and the couple have two children, Meghan and Joe.
While Depeche Mode were touring with the band Blancmange in the early 1980s, Fletcher was renowned for his skill at chess. Neil Arthur of Blancmange has mentioned in interviews 'never winning a game of chess with Andy Fletcher!'[7]
During the 1990s, Fletcher owned a restaurant called Gascogne located on Blenheim Terrace in St. John's Wood, London.[8][better source needed]
Fletcher made a series of bad investments in the mid-1990s that led to a number of financial settlements involving Lloyd's of London and Daniel Miller.[9]
According to The Independent, 'Fletcher's deepening depression resulted, in the summer of 1994, in a full nervous breakdown.'[10]
References[edit]
- ^Pearce, Sheldon. 'Depeche Mode Announce New Album Spirit, Upcoming Tour | Pitchfork'. Pitchfork.com. Retrieved 11 October 2016.
- ^Edwards, Gavin (20 October 2005). 'Playing the Angel review'. Rolling Stone. Retrieved 24 April 2017.
- ^'Shunt - The Official Recoil Website'. Recoil.co.uk. Retrieved 11 October 2016.
- ^'Shunt - The Official Recoil Website'. Recoil.co.uk. Retrieved 11 October 2016.
- ^'Fletch To Embark On DJ Tour'. Depechemode.com. 14 September 2015. Retrieved 14 September 2015.
- ^Lilian R. Franke. 'Depeche Mode Biography Andrew Fletcher'. Depechemodebiographie.de. Retrieved 24 August 2014.
- ^'Neil Arthur, Interview with Chi Ming Lai (2012)'. Electricity Club. Archived from the original on 13 January 2014.
- ^'Andrew Fletcher: Trivia'. IMDb.com. Retrieved 9 September 2012.
- ^'Deadlines clarified by court'. The Lawyer. 4 July 1998. Retrieved 24 August 2014.
- ^'Music a la Mode'. The Independent. 2 May 1997. Retrieved 3 April 2019.
Media related to Andrew Fletcher at Wikimedia Commons
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Andy_Fletcher_(musician)&oldid=915203613'
Born | December 1579 Rye, Sussex, England |
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Died | August 1625 (age 45) London, England |
Occupation | Writer |
Nationality | English |
Period | 16th–17th centuries (Jacobean) |
Genre | Drama |
John Fletcher (1579–1625) was a Jacobean playwright. Following William Shakespeare as house playwright for the King's Men, he was among the most prolific and influential dramatists of his day; during his lifetime and in the early Restoration, his fame rivalled Shakespeare's. He collaborated on writing plays with Francis Beaumont, and also with William Shakespeare on two plays.
Though his reputation has been far eclipsed since, Fletcher remains an important transitional figure between the Elizabethan popular tradition and the popular drama of the Restoration.
- 1Biography
- 3Plays
Biography[edit]
Early life[edit]
Fletcher was born in December 1579 (baptised 20 December) in Rye, Sussex, and died of the plague in August 1625 (buried 29 August in St. Saviour's, Southwark).[1] His father Richard Fletcher was an ambitious and successful cleric who was in turn Dean of Peterborough, Bishop of Bristol, Bishop of Worcester and Bishop of London (shortly before his death), as well as chaplain to Queen Elizabeth.[2] As Dean of Peterborough, Richard Fletcher, at the execution of Mary, Queen of Scots at Fotheringay Castle, 'knelt down on the scaffold steps and started to pray out loud and at length, in a prolonged and rhetorical style as though determined to force his way into the pages of history'. He cried out at her death, 'So perish all the Queen's enemies!'
Richard Fletcher died shortly after falling out of favour with the Queen, over a marriage she had advised against. He appears to have been partly rehabilitated before his death in 1596 but he died substantially in debt. The upbringing of John Fletcher and his seven siblings was entrusted to his paternal uncle Giles Fletcher, a poet and minor official. His uncle's connexions ceased to be a benefit and may even have become a liability after the rebellion of Robert Devereux the Earl of Essex, who had been his patron. Fletcher appears to have entered Corpus Christi College, Cambridge University in 1591, at the age of eleven.[3] It is not certain that he took a degree but evidence suggests that he was preparing for a career in the church. Little is known about his time at college but he evidently followed the path previously trodden by the University wits before him, from Cambridge to the burgeoning commercial theatre of London.
Collaborations with Beaumont[edit]
In 1606, he began to appear as a playwright for the Children of the Queen's Revels, then performing at the Blackfriars Theatre. Commendatory verses by Richard Brome in the Beaumont and Fletcher 1647 folio place Fletcher in the company of Ben Jonson; a comment of Jonson's to Drummond corroborates this claim, although it is not known when this friendship began. At the beginning of his career, his most important association was with Francis Beaumont. The two wrote together for close on a decade, first for the children and then for the King's Men. According to an anecdote transmitted or invented by John Aubrey, they also lived together (in Bankside), sharing clothes and having 'one wench in the house between them'. This domestic arrangement, if it existed, was ended by Beaumont's marriage in 1613 and their dramatic partnership ended after Beaumont fell ill, probably of a stroke, the same year.[4]
Successor to Shakespeare[edit]
By this time, Fletcher had moved into a closer association with the King's Men. He collaborated with Shakespeare on Henry VIII, The Two Noble Kinsmen and the lostCardenio, which is probably (according to some modern scholars) the basis for Lewis Theobald's play Double Falsehood. A play he wrote singly around this time, The Woman's Prize or the Tamer Tamed, is a sequel to The Taming of the Shrew.[5] In 1616, after Shakespeare's death, Fletcher appears to have entered into an exclusive arrangement with the King's Men similar to Shakespeare's. Fletcher wrote only for that company between the death of Shakespeare and his death nine years later. He never lost his habit of collaboration, working with Nathan Field and later with Philip Massinger, who succeeded him as house playwright for the King's Men. His popularity continued throughout his life; during the winter of 1621, three of his plays were performed at court. He died in 1625, apparently of the plague. He seems to have been buried in what is now Southwark Cathedral, although the precise location is not known; there is a reference by Aston Cockayne to a common grave for Fletcher and Massinger (also buried in Southwark). What is more certain is that two simple adjacent stones in the floor of the Choir of Southwark Cathedral, one marked 'Edmond Shakespeare 1607' the other 'John Fletcher 1625' refer to Shakespeare's younger brother and the playwright. His mastery is most notable in two dramatic types, tragicomedy and comedy of manners.[6]
Stage history[edit]
Portrait of John Fletcher, circa 1620. National Portrait Gallery, London.
Fletcher's early career was marked by one significant failure, of The Faithful Shepherdess, his adaptation of Giovanni Battista Guarini's Il Pastor Fido, which was performed by the Blackfriars Children in 1608.[7] In the preface to the printed edition of his play, Fletcher explained the failure as due to his audience's faulty expectations. They expected a pastoral tragicomedy to feature dances, comedy and murder, with the shepherds presented in conventional stereotypes—as Fletcher put it, wearing 'gray cloaks, with curtailed dogs in strings'. Fletcher's preface in defence of his play is best known for its pithy definition of tragicomedy: 'A tragicomedy is not so called in respect of mirth and killing, but in respect it wants [i.e., lacks] deaths, which is enough to make it no tragedy; yet brings some near it, which is enough to make it no comedy'. A comedy, he went on to say, must be 'a representation of familiar people' and the preface is critical of drama that features characters whose action violates nature.
Fletcher appears to have been developing a new style faster than audiences could comprehend. By 1609, however, he had found his voice. With Beaumont, he wrote Philaster, which became a hit for the King's Men and began a profitable connexion between Fletcher and that company. Philaster appears also to have initiated a vogue for tragicomedy; Fletcher's influence has been credited with inspiring some features of Shakespeare's late romances (Kirsch, 288–90) and his influence on the tragicomic work of other playwrights is even more marked. By the middle of the 1610s, Fletcher's plays had achieved a popularity that rivalled Shakespeare's and cemented the pre-eminence of the King's Men in Jacobean London. After Beaumont's retirement and early death in 1616, Fletcher continued working, singly and in collaboration, until his death in 1625. By that time, he had produced or had been credited with, close to fifty plays. This body of work remained a big part of the King's Men's repertory until the closing of the theatres in 1642.
During the Commonwealth, many of the playwright's best-known scenes were kept alive as drolls, the brief performances devised to satisfy the taste for plays while the theatres were suppressed. At the re-opening of the theatres in 1660, the plays in the Fletcher canon, in original form or revised, were by far the most common fare on the English stage. The most frequently revived plays suggest the developing taste for comedies of manners. Among the tragedies, The Maid's Tragedy and especially, Rollo Duke of Normandy held the stage. Four tragicomedies (A King and No King, The Humorous Lieutenant, Philaster and The Island Princess) were popular, perhaps in part for their similarity to and foreshadowing of heroic drama. Four comedies (Rule a Wife And Have a Wife, The Chances, Beggars' Bush and especially The Scornful Lady) were also popular. Fletcher's plays, relative to those of Shakespeare and to new productions, declined. By around 1710, Shakespeare's plays were more frequently performed and the rest of the century saw a steady erosion in performance of Fletcher's plays. By 1784, Thomas Davies asserted that only Rule a Wife and The Chances were still on stage. A generation later, Alexander Dyce mentioned only The Chances. Since then Fletcher has increasingly become a subject only for occasional revivals and for specialists. Fletcher and his collaborators have been the subject of important bibliographic and critical studies but the plays have been revived only infrequently.
Plays[edit]
Because Fletcher collaborated regularly and widely, attempts to separate Fletcher's work from this collaborative fabric have experienced difficulties in attribution. Fletcher collaborated most often with Beaumont and Massinger but also with Nathan Field, Shakespeare and others.[8] Some of his early collaborations with Beaumont were later revised by Massinger, adding another layer of complexity to the collaborative texture of the works. According to scholars such as Hoy, Fletcher used distinctive mannerisms that Hoy argued identify his presence. According to Hoy's figures, he frequently uses ye instead of you at rates sometimes approaching 50 per cent. He employs 'em for them, along with a set of other preferences in contractions. He adds a sixth stressed syllable to a standard pentameter verse line—most often sir but also too or still or next. Various other habits and preferences may reveal his hand. The detection of this pattern, a Fletcherian textual profile, has persuaded some researchers that they have penetrated the Fletcher canon with what they consider success—and has in turn encouraged the use of similar techniques in the study of literature. [See: stylometry.] Scholars such as Jeffrey Masten and Gordon McMullan, have pointed out limitations of logic and method in Hoy's and others' attempts to distinguish playwrights on the basis of style and linguistic preferences.[9]
Bibliography has attempted to establish the writers of each play. Attempts to determine the exact 'shares' of each writer (for instance by Cyrus Hoy) in particular plays continues, based on patterns of textual and linguistic preferences, style and idiosyncrasies of spelling.
The list that follows gives a tentative verdict on the writing of the plays in Fletcher's canon, with likeliest composition dates, dates of first publication and dates of licensing by the Master of the Revels, where available.[10]
Solo plays[edit]
- The Faithful Shepherdess, pastoral (written 1608–09; printed 1609?)
- Valentinian, tragedy (1610–14; 1647)
- Monsieur Thomas, comedy (c. 1610–16; 1639)
- The Woman's Prize, or The Tamer Tamed, comedy (c. 1611; 1647)
- Bonduca, tragedy (1611–14; 1647)
- The Chances, comedy (c. 1613–25; 1647)
- Wit Without Money, comedy (c. 1614; 1639)
- The Mad Lover, tragicomedy (acted 5 January 1617; 1647)
- The Loyal Subject, tragicomedy (licensed 16 November 1618; revised 1633?; 1647)
- The Humorous Lieutenant, tragicomedy (c. 1619; 1647)
- Women Pleased, tragicomedy (c. 1619–23; 1647)
- The Island Princess, tragicomedy (c. 1620; 1647)
- The Wild Goose Chase, comedy (c. 1621; 1652)
- The Pilgrim, comedy (c. 1621; 1647)
- A Wife for a Month, tragicomedy (licensed 27 May 1624; 1647)
- Rule a Wife and Have a Wife, comedy (licensed 19 October 1624; 1640)
Collaborations[edit]
With Francis Beaumont:
- The Woman Hater, comedy (1606; 1607)
- Cupid's Revenge, tragedy (c. 1607–12; 1615)
- Philaster, or Love Lies a-Bleeding,tragicomedy (c. 1609; 1620)
- The Maid's Tragedy, Tragedy (c. 1609; 1619)
- A King and No King, tragicomedy (1611; 1619)
- The Captain, comedy (c. 1609–12; 1647)
- The Scornful Lady, comedy (c. 1613; 1616)
- Love's Pilgrimage, tragicomedy (c. 1615–16; 1647)
- The Noble Gentleman, comedy (c. 1613?; licensed 3 February 1626; 1647)
With Beaumont and Massinger:
- Thierry and Theodoret, tragedy (c. 1607; 1621)
- The Coxcomb, comedy (c. 1608–10; 1647)
- Beggars' Bush, comedy (c. 1612–13; revised 1622?; 1647)
- Love's Cure, comedy (c. 1612–13; revised 1625?; 1647)
With Massinger:
- Sir John van Olden Barnavelt, tragedy (August 1619; MS)
- The Little French Lawyer, comedy (c. 1619–23; 1647)
- A Very Woman, tragicomedy (c. 1619–22; licensed 6 June 1634; 1655)
- The Custom of the Country, comedy (c. 1619–23; 1647)
- The Double Marriage, tragedy (c. 1619–23; 1647)
- The False One, history (c. 1619–23; 1647)
- The Prophetess, tragicomedy (licensed 14 May 1622; 1647)
- The Sea Voyage, comedy (licensed 22 June 1622; 1647)
- The Spanish Curate, comedy (licensed 24 October 1622; 1647)
- The Lovers' Progress or The Wandering Lovers, tragicomedy (licensed 6 December 1623; revised 1634; 1647)
- The Elder Brother, comedy (c. 1625; 1637)
With Massinger and Field:
- The Honest Man's Fortune, tragicomedy (1613; 1647)
- The Queen of Corinth, tragicomedy (c. 1616–18; 1647)
- The Knight of Malta, tragicomedy (c. 1619; 1647)
With Shakespeare:
- Henry VIII, history (c. 1613; 1623)
- The Two Noble Kinsmen, tragicomedy (c. 1613; 1634)
- Cardenio, tragicomedy? (c. 1613)[11]
With Middleton and Rowley:
- Wit at Several Weapons, comedy (c. 1610–20; 1647)
With Rowley:
- The Maid in the Mill (licensed 29 August 1623; 1647).
With Field:
- Four Plays, or Moral Representations, in One, morality (c. 1608–13; 1647)[12]
With Massinger, Jonson, and Chapman:
- Rollo Duke of Normandy, or The Bloody Brother, tragedy (c. 1617; revised 1627–30?; 1639)
With Shirley:
- The Night Walker, or The Little Thief, comedy (c. 1611; 1640)[13]
Uncertain:
- The Nice Valour, or The Passionate Madman, comedy (c. 1615–25; 1647)
- The Laws of Candy, tragicomedy (c. 1619–23; 1647)
- The Fair Maid of the Inn, comedy (licensed 22 January 1626; 1647)
- The Faithful Friends, tragicomedy (registered 29 June 1660; MS.)
The Nice Valour may be a play by Fletcher revised by Thomas Middleton; The Fair Maid of the Inn is perhaps a play by Massinger, John Ford and John Webster, either with or without Fletcher's involvement. The Laws of Candy has been variously attributed to Fletcher and to John Ford. The Night-Walker was a Fletcher original, with additions by Shirley for a 1639 production. Some of the attributions given above are disputed by scholars, as noted in connexion with Four Plays in One. Rollo Duke of Normandy, an especially difficult case and source of much disagreement among scholars, may have been written around 1617 and later revised by Massinger.[14]
The first Beaumont and Fletcher folio of 1647 collected 35 plays, most not published before. The second folio of 1679 added 18 more, for a total of 53. The first folio included The Masque of the Inner Temple and Gray's Inn (1613) and the second The Knight of the Burning Pestle (1607) are widely considered to be solo works, although the latter was in early editions attributed to both writers. Sir John Van Olden Barnavelt, existed in manuscript and was not published till 1883. In 1640 James Shirley's The Coronation was misattributed to Fletcher upon its initial publication and was included in the second Beaumont and Fletcher folio of 1679.
Notes[edit]
- ^'John Fletcher Facts'. biography.yourdictionary.com. Retrieved 16 March 2016.
- ^'John Fletcher | English dramatist'. Encyclopædia Britannica. Retrieved 16 March 2016.
- ^'Fletcher, John (FLTR591J)'. A Cambridge Alumni Database. University of Cambridge.
- ^Academy, Students'. Famous English Renaissance Dramatists-Five-John Fletcher. Lulu.com. ISBN978-1-257-15766-2.
- ^Squier 1986, p. 120.
- ^Birch, Dinah; Drabble, Margaret (2009). The Oxford Companion to English Literature. doi:10.1093/acref/9780192806871.001.0001. ISBN978-0-19-280687-1.
- ^Gurr, Andrew; Karim-Cooper, Farah (2014). Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse. Cambridge University Press. ISBN978-1-107-04063-2.
- ^'John Fletcher : The Poetry Foundation'. www.poetryfoundation.org. Retrieved 16 March 2016.
- ^Jeffrey Masten, 'Beaumont and/or Fletcher: Collaboration and the Interpretation of Renaissance Drama.'English Literary History 59 (1992): 337-356.
- ^Denzell S. Smith, 'Francis Beaumont and John Fletcher,' in Logan and Smith, The Later Jacobean and Caroline Dramatists, pp. 52–89.
- ^See: Double Falsehood;The Second Maiden's Tragedy.
- ^Some assign this play to Fletcher and Beaumont.
- ^The Night Walker was revised by Shirley for a new production in 1633–4.
- ^Logan and Smith, pp. 70–72.
References[edit]
- This article incorporates text from a publication now in the public domain: Cousin, John William (1910). 'Beaumont, Francis'. A Short Biographical Dictionary of English Literature. London: J. M. Dent & Sons – via Wikisource.
- Academy, Students' Famous English Renaissance Dramatist-Five-John Fletcher. 2011. 1–115. Print. ISBN978-1-257-15766-2
- 'Biographical Sketches: Sir Walter Raleigh. Benjamin Jonson. Lord Francis Bacon. Beaumont and Fletcher. John Selden.' The Eclectic Magazine of Foreign Literature (1844–1898), 46.2 (1859): 287.
- Birch, Dinah. 'The Oxford Companion to English Literature (7 Ed.).'Oxford Reference. Oxford University Press, 2009. ISBN978-0-19-173506-6
- Finkelpearl, Daniel. Court and Country Politics in the Plays of Beaumont and Fletcher. Princeton: Princeton University Press, 1990.
- Fletcher, Ian. Beaumont and Fletcher. London, Longmans, Green, 1967.
- 'Front Cover.' John Fletcher. Charles L. Squier. Boston: Twayne Publishers, 1986. Twayne's English Authors Series 433. Gale Virtual Reference Library. Web. 16 Mar. 2016.
- Gurr, Andrew, and Farah Karim-Cooper. Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse. 2014.
- Hoy, Cyrus H. 'The Shares of Fletcher and His Collaborators in the Beaumont and Fletcher Canon.' Studies in Bibliography. Seven parts: vols. 8–9, 11–15 (1956–1962).
- Ide, Arata. 'John Fletcher of Corpus Christi College: New Records of His Early Years.' Early Theatre, 14.1 (2011): 63–77.
- 'John Fletcher'. Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2016. Web. 16 Mar. 2016 http://www.britannica.com/biography/John-Fletcher.
- 'John Fletcher' YourDictionary, 16 March 2016.
- Kirsch, Arthur. 'Cymbeline and Coterie Dramaturgy.' ELH 34 (1967), 288–306.
- Leech, Clifford. The John Fletcher Plays. London: Chatto and Windus, 1962.
- Logan, Terence P., and Denzell S. Smith.The Later Jacobean and Caroline Dramatists: A Survey and Bibliography of Recent Studies in English Renaissance Drama. Lincoln, University of Nebraska Press, 1978.
- Masten, Jeffrey A. 'Beaumont and/or Fletcher: Collaboration and the Interpretation of Renaissance Drama.' English Literary History 59 (1992): 337–356.
- McMullan, Gordon. ‘Fletcher, John (1579–1625)’, Oxford Dictionary of National Biography, Oxford University Press, 2004
- Oliphant, E.H.C. Beaumont and Fletcher: An Attempt to Determine Their Respective Shares and the Shares of Others. London: Humphrey Milford, 1927.
- Sprague, A.C. Beaumont and Fletcher on the Restoration Stage. London: Benjamin Bloom, 1926.
- Squier, Charles L. (1986). John Fletcher. Twayne's English Authors. 433. Boston: Twayne Publishers. hdl:2027/mdp.39015011903229. ISBN978-0805769234.
- Waith, Eugene. The Pattern of Tragicomedy in Beaumont and Fletcher. New Haven: Yale University Press, 1952.
External links[edit]
Wikisource has original works written by or about: John Fletcher |
Wikiquote has quotations related to: John Fletcher |
Wikiversity has learning resources about Collaborative_play_writing |
- Works by John Fletcher at Project Gutenberg
- Works by John Fletcher at Faded Page (Canada)
- Works by or about John Fletcher at Internet Archive
- Works by John Fletcher at LibriVox (public domain audiobooks)
- John Fletcher (1579–1625), Dramatist Sitter associated with 13 portraits National Portrait Gallery
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