The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume VII. Cavalier and Puritan.
§ 12. Sir William DAvenant; Gondibert
The general inclination to restrain poetic fluency within definite bounds, which led to the adoption of the self-contained couplet as the standard form of verse after the restoration, prompted Sir William D’Avenant to write his epic poem, Gondibert, in a series of quatrains with alternate rimes. The first two books of Gondibert were written at Paris, where D’Avenant was the guest of lord Jermyn in his rooms at the Louvre. The whole poem was intended to consist of five books, corresponding to the five acts of a play, each divided into a number of cantos. D’Avenant, according to Aubrey, was much in love with his design; and his preoccupation with it excited the ridicule of Denham and other courtiers then at Paris. In 1650, the two finished books were published, prefaced by a long letter from the author to Hobbes, who had read the work as it advanced, and by a complimentary answer from Hobbes himself. Gondibert was never completed. Early in 1650, Sir William left Paris for Virginia: his voyage was intercepted by a parliamentary ship, which took him prisoner. He wrote six cantos of the third book during his imprisonment in Cowes castle, but, finding that the sorrows of his condition begat in him “such a gravity, as diverts the musick of verse,” he abandoned the poem, and, during the remaining eighteen years of his life, added to it but one fragment, which was printed in the collected edition of his works in 1673. The unfinished poem, with a postscript dated from Cowes castle, 22 October, 1650, was published in 1651.
In his epistle to Hobbes, D’Avenant elaborately explained his theory of poetry, his choice of the epic form, and his conduct of the various parts of the poem. He was much in earnest in defending the moral value of poetry, and in indicating the salutary influence which “princes and nobles, being reformed and made angelicall by the heroick” form of verse, may exercise on their subjects who, by defect of education, are less capable of feeling its advantages. His aim was to give his readers a perfect picture of virtue, avoiding the snares into which critics had found that previous epic poets, from Homer to Spenser and Tasso, had fallen. His stage was to be filled with characters remarkable for noble birth or greatness of mind, whose schools of morality were courts or camps. The “distempers” chosen as objects of warning were not to be vulgar vices, but the higher passions of love and ambition. As for his “interwoven stanza of four”