The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume VIII. The Age of Dryden.
§ 3. Relaxation of the Laws against Dramatic Entertainments towards the Close of Oliver Cromwells Protectorate; Sir William DAvenants Entertainments: The Siege of Rhodes
Towards the close of Cromwell’s rule, the laws against dramatic entertainments appear to have been somewhat relaxed, and Sir William D’Avenant, who had been governor of the king and queen’s company of players, acting at the Cockpit, and had held a patent, dated 1639, empowering him to erect a new playhouse, was obviously the man first to provide for a returning interest in plays. D’Avenant’s earlier plays and masques have already been mentioned in a previous volume of this work. The son of an Oxford tavern keeper, and, if the story be authentic, Shakespeare’s godson, D’Avenant had been taken up by the court; he had staged plays in the manner of Fletcher as early as 1630; had succeeded Ben Jonson as poet laureate in 1638, and later, had served the royal party through many vicissitudes afield and in intrigue abroad and at home, suffering imprisonment for several years and narrowly escaping the gallows. In the later years of the commonwealth he had lived more quietly in London and, at length, chiefly through the influence of the lord-keeper, Sir Bulstrode Whitelocke, obtained authority for the production of a species of quasi-dramatic entertainment which, though given at private houses, was public in so far as money was taken for entrance. D’Avenant’s earliest venture in this kind was entitled The First Day’s Entertainment at Rutland House, “by declamation and music, after the manner of the ancients,” printed in 1657, and staged 21 May of the previous year. By some, this venture has been called “an opera”; and, strangely enough, D’Avenant refers to it by this title in his prologue and elsewhere. The First Day’s Entertainment is really made up of two pairs of speeches, the first by Diogenes and Aristophanes successively “against and for, public entertainment, by moral presentation,” the second, in lighter vein, between a Parisian and a Londoner on the respective merits of the two cities. The whole was diversified with music by Coleman, Lawes (composer of the music of Comus) and other musicians of repute in their day. D’Avenant had made provision for four hundred auditors but only a hundred and fifty appeared. Emboldened, however, by this qualified success, he projected a more ambitious entertainment. This was the celebrated Siege of Rhodes, “made a representation by the art of prospective in scenes and the story sung in recitative music,” presented in August, 1656. In an address “To the Reader,” which appears in the first edition of that year, but was not afterwards reprinted, D’Avenant points out that