The Lives of the Poets of Great Britain and Ireland Volume II Part 8

While he employed himself in the service of the muses, Henrietta Maria, the queen dowager of England whose particular favourite he was found out business for him of another nature. She had heard that vast improvements might be made in the loyal colony of Virginia, in case proper artificers were sent there; and there being many of these in France who were dest.i.tute of employment, she encouraged Sir William to collect these artificers together, who accordingly embarked with his little colony at one of the ports in Normandy; but in this expedition he was likewise unfortunate; for before the vessel was clear of the French coast, she was met by one of the Parliament ships of war, and carried into the Isle of Wight, where our disappointed projector was sent close prisoner to Cowes Castle, and there had leisure enough, and what is more extraordinary, wanted not inclination to resume his heroic poem, and having written about half the third book, in a very gloomy prison, he thought proper to stop short again, finding himself, as he imagined under the very shadow of death. Upon this occasion it is reported of Davenant, that he wrote a letter to Hobbes, in which he gives some account of the progress he made in the third book of Gondibert, and offers some criticisms upon the nature of that kind of poetry; but why, says he, should I trouble you or myself, with these thoughts, when I am pretty certain I shall be hanged next week. This gaiety of temper in Davenant, while he was in the most deplorable circ.u.mstances of distress, carries something in it very singular, and perhaps could proceed from no other cause but conscious innocence; for he appears to have been an inoffensive good natured man. He was conveyed from the Isle of Wight to the Tower of London, and for some time his life was in the utmost hazard; nor is it quite certain by what means he was preserved from falling a sacrifice to the prevailing fury. Some conjecture that two aldermen of York, to whom he had been kind when they were prisoners, interposed their influence for him; others more reasonably conjecture that Milton was his friend, and prevented the utmost effects of party rage from descending on the head of this son of the muses. But by whatever means his life was saved, we find him two years after a prisoner of the Tower, where he obtained some indulgence by the favour of the Lord Keeper Whitlocke; upon receiving which he wrote him a letter of thanks, which as it serves to ill.u.s.trate how easily and politely he wrote in prose, we shall here insert. It is far removed either from meanness or bombast, and has as much elegance in it as any letters in our language.

My Lord,

"I am in suspense whether I should present my thankfulness to your lordship for my liberty of the Tower, because when I consider how much of your time belongs to the public, I conceive that to make a request to you, and to thank you afterwards for the success of it, is to give you no more than a succession of trouble; unless you are resolved to be continually patient, and courteous to afflicted men, and agree in your judgment with the late wise Cardinal, who was wont to say, If he had not spent as much time in civilities, as in business, he had undone his master. But whilst I endeavour to excuse this present thankfulness, I should rather ask your pardon, for going about to make a present to you of myself; for it may argue me to be incorrigible, that, after so many afflictions, I have yet so much ambition, as to desire to be at liberty, that I may have more opportunity to obey your lordship's commands, and shew the world how much

"I am, "My Lord, "Your lordship's most "Obliged, most humble, "And obedient servant,

"Wm. Davenant."

Our author was so far happy as to obtain by this letter the favour of Whitlocke, who was, perhaps, a man of more humanity and gentleness of disposition, than some other of the covenanters. He at last obtained his liberty entirely, and was delivered from every thing but the narrowness of his circ.u.mstances, and to redress these, encouraged by the interest of his friends, he likewise made a bold effort. He was conscious that a play-house was entirely inconsistent with the gloominess, and severity of these times; and yet he was certain that there were people of taste enough in town, to fill one, if such a scheme could be managed; which he conducted with great address, and at last brought to bear, as he had the countenance of lord Whitlocke, Sir John Maynard, and other persons of rank, who really were ashamed of the cant and hypocrisy which then prevailed. In consequence of this, our poet opened a kind of theatre at Rutland House, where several pieces were acted, and if they did not gain him reputation, they procured him what is more solid, and what he then more wanted, money.

Some of the people in power, it seems, were lovers of music, and tho'

they did not care to own it, they were wise enough to know that there was nothing scandalous or immoral in the diversions of the theatre.

Sir William therefore, when he applied for a permission called what he intended to represent an opera; but when he brought it on the stage, it appeared quite another thing, which when printed had the following t.i.tle:

First day's entertainment at Rutland House by declamation and music, after the manner of the ancients.

This being an introductory piece, it demanded all the author's wit to make it answer different intentions; for first it was to be so pleasing as to gain applause; and next it was to be be so remote from the very appearance of a play, as not to give any offence to that pretended sanct.i.ty that was then in fashion. It began with music, then followed a prologue, in which the author rallies the oddity of his own performance. The curtain being drawn up to the sound of slow and solemn music, there followed a grave declamation by one in a guilded rostrum, who personated Diogenes, and shewed the use and excellency of dramatic entertainments. The second part of the entertainment consisted of two lighter declamations; the first by a citizen of Paris, who wittily rallies the follies of London; the other by a citizen of London, who takes the same liberty with Paris and its inhabitants. To this was tacked a song, and after that came a short epilogue. The music was composed by Dr. Coleman, Capt. Cook, Mr. Henry Laws, and Mr. George Hudson.

There were several other pieces which Sir William introduced upon this stage of the same kind, which met with as much success, as could be expected from the nature of the performances themselves, and the temper and disposition of the audience. Being thus introduced, he at last grew a little bolder, and not only ventured to write, but to act several new plays, which were also somewhat in a new taste; that is, they were more regular in their structure, and the language generally speaking, smoother, and more correct than the old tragedies. These improvements were in a great measure owing to Sir William's long residence in France, which gave him an opportunity of reading their best writers, and hearing the sentiments of their ablest critics upon dramatic entertainments, where they were as much admired and encouraged, as at that time despised in England. That these were really improvements, and that the public stood greatly indebted to Sir William Davenant as a poet, and master of a theatre, we can produce no less an authority than that of Dryden, who, beyond any of his predecessors, contemporaries, or those who have succeeded him, understood poetry as an art. In his essay on heroic plays, he thus speaks, "The first light we had of them, on the English theatre (says he) was from Sir William Davenant. It being forbidden him in the religious times to act tragedies or comedies, because they contained some matter of scandal to those good people, who could more easily dispossess their lawful sovereign, than endure a wanton jest, he was forced to turn his thoughts another way, and to introduce the examples of moral virtue written in verse, and performed in recitative music.

The original of this music, and of the scenes which adorned his works, he had from the Italian opera's; but he heightened his characters, as I may probably imagine, from the examples of Corneille, and some French poets. In this condition did this part of poetry remain at his Majelty's return, when grown bolder as now owned by public authority, Davenant revived the Siege of Rhodes, and caused it to be acted as a just drama. But as few men have the happiness to begin and finish any new project, so neither did he live to make his design perfect. There wanted the fulness of a plot, and the variety of characters to form it as it ought; and perhaps somewhat might have been added to the beauty of the stile: all which he would have performed with more exactness, had he pleased to have given us another work of the fame nature. For myself and others who came after him, we are bound with all veneration to his memory, to acknowledge what advantage we received from that excellent ground work, which is laid, and since it is an easy thing to add to what is already invented, we ought all of us, without envy to him, or partiality to ourselves, to yield him the precedence in it."

Immediately after the restoration there were two companies of players formed, one under the t.i.tle of the King's Servants, the other, under that of the Duke's Company, both by patents, from the crown; the first granted to Henry Killigrew, Esq; and the latter to Sir William Davenant. The King's company acted first at the Red Bull in the upper end of St. John's Street, and after a year or two removing from place to place, they established themselves in Drury-Lane. It was some time before Sir William Davenant compleated his company, into which he took all who had formerly played under Mr. Rhodes in the c.o.c.k-Pit in Drury-Lane, and amongst these the famous Mr. Betterton, who appeared first to advantage under the patronage of Sir William Davenant. He opened the Duke's theatre in Lincoln's-Inn-Fields with his own dramatic performance of the Siege of Rhodes, the house being finely decorated, and the stage supplied with painted scenes, which were by him introduced at least, if not invented, which afforded certainly an additional beauty to the theatre, tho' some have insinuated, that fine scenes proved the ruin of acting; but as we are persuaded it will be an entertaining circ.u.mstance to our Readers, to have that matter more fully explained, we shall take this opportunity of doing it.

In the reign of Charles I, dramatic entertainments were accompanied with rich scenery, curious machines, and other elegant embellishments, chiefly condufted by the wonderful dexterity of that celebrated English, architect Inigo Jones. But these were employed only in masques at court, and were too expensive for the little theatres in which plays were then acted. In them there was nothing more than a ouftain of very coa.r.s.e stuff, upon the drawing up of which, the stage appeared either with bare walls on the sides, coarsly matted, or covered with tapestry; so that for the place originally represented, and all the successive changes in which the poets of those times freely indulged themselves, there was nothing to help the spectator's understanding, or to a.s.sist the actor's performance, but bare imagination. In Shakespear's time so undecorated were the theatres, that a blanket supplied the place of a curtain; and it was a good observation of the ingenious Mr. Chitty, a gentleman of acknowledged taste in dramatic excellence, that the circ.u.mstance of the blanket, suggested to Shakespear that n.o.ble image in Macbeth, where the murderer invokes

Thick night to veil itself in the dunnest smoke of h.e.l.l, Nor Heaven peep thro' the blanket of the dark To cry hold, hold.

It is true, that while things continued in this situation, there were a great many play-houses, sometimes six or seven open at once. Of these some were large, and in part open, where they acted by day light; others smaller, but better fitted up, where they made use of candles. The plainness of the theatre made the prices small, and drew abundance of company; yet upon the whole it is doubtful, whether the spectactors in all these houses were really superior in number, to those who have frequented the theatres in later times. If the spirit and judgment of the actors supplied all deficiencies, and made as some would insinuate, plays more intelligible without scenes, than they afterwards were with them, it must be very astonishing; neither is it difficult to a.s.sign another cause, why those who were concerned in play-houses, were angry at the introduction of scenes and decorations, which was, that notwithstanding the advanced prices, their profits from that time were continually sinking; and an author, of high authority in this case, a.s.sures us, in an historical account of the stage, that the whole sharers in Mr. Hart's company divided a thousand pounds a year a-piece, before the expensive decorations became fashionable. Sir William Davehant considered things in another light: he was well acquainted with the alterations which the French theatre had received, under the auspice of cardinal Rich[e]lieu, who had an excellent taste; and he remembered the n.o.ble contrivances of Inigo Jones, which were not at all inferior to the designs of the best French masters. Sir William was likewise sensible that the monarch he served was an excellent judge of every thing of this kind; and these considerations excited in him a pa.s.sion for the advancement of the theatre, to which the great figure it has since made is chiefly owing.

Mr. Dryden has acknowledged his admirable talents in this way, and gratefully remembers the pains taken by our poet, to set a work of his in the fairest light possible, and to which, he ingenuously ascribes the success with which it was received. This is the hislory of the life and progress of scenery on our stage; which, without doubt, gives greater life to the entertainment of a play; but as the best purposes may be prost.i.tuted, so there is some reason to believe that the excessive fondness for decorations, which now prevails, has hurt the true dramatic taste. Scenes are to be considered as secondary in a play, the means of setting it off with l.u.s.tre, and ought to engross but little attention; as it is more important to hear what a character speaks, than to observe the place where he stands; but now the case is altered. The scenes in a Harlequin Sorcerer, and other unmeaning pantomimes, unknown to our more elegant and judging fore-fathers, procure crowded houses, while the n.o.blest strokes of Dryden, the delicate touches of Otway and Rowe, the wild majesty of Shakespear, and the heart-felt language of Lee, pa.s.s neglected, when put in compet.i.tion with those gewgaws of the stage, these feasts of the eye; which as they can communicate no ideas, so they can neither warm nor reform the heart, nor answer one moral purpose in nature.

We ought not to omit a cirrumstance much in favour of Sir William Davenant, which proves him to have been as good a man as a poet. When at the Restoration, those who had been active in disturbing the late reign, and secluding their sovereign from the throne, became obnoxious to the royal party, Milton was likely to feel the vengeance of the court, Davenant actuated by a n.o.ble principle of grat.i.tude, interposed all his influence, and saved the greatest ornament of the world from the stroke of an executioner. Ten years before that, Davenant had been rescued by Milton, and he remembered the favour; an instance, this, that generosity, grat.i.tude, and n.o.bleness of nature is confined to no particular party; but the heart of a good man will still discover itself in acts of munificence and kindness, however mistaken he may be in his opinion, however warm in state factions. The particulars of this extraordinary affair are related in the life of Milton.

Sir William Davenant continued at the head of his company of actors, and at last transferred them to a new and magnificent theatre built in Dorset-Gardens, where some of his old plays were revived with very singular circ.u.mstances of royal kindness, and a new one when brought upon the stage met with great applause.

The last labour of his pen was in altering a play of Shakespear's, called the Tempest, so as to render it agreeable to that age, or rather susceptible of those theatrical improvements he had brought into fashion. The great successor to his laurel, in a preface to this play, in which he was concerned with Davenant, 'says, that he was a man of quick and piercing imagination, and soon found that somewhat might be added to the design of Shakespear, of which neither Fletcher nor Suckling had ever thought; and therefore to put the last hand to it, he designed the counterpart to Shakespear's plot, namely, that of a man who had never seen a woman, that by this means, these two characters of innocence and love might the more ill.u.s.trate and commend each other. This excellent contrivance he was pleased to communicate to me, and to defire my a.s.sistance in it. I confess that from the first moment it so pleased me, that I never wrote any thing with so much delight. I might likewise do him that justice to acknowledge that my writing received daily amendments, and that is the reason why it is not so faulty, as the rest that I have done, without the help or correction of so judicious a friend. The comical parts of the sailors were also of his invention and Writing, as may easily be discovered from the stile.'

This great man died at his house in little Lincoln's-Inn-Fields, April 17, 1668, aged 63, and two days afterwards was interred in Westminster-Abbey. On his gravestone is inscribed, in imitation of Ben Johnson's short epitaph,

O RARE SIR WILLIAM DAVENANT!

It may not be amiss to observe, that his remains rest very near the place out of which those of Mr. Thomas May, who had been formerly his rival for the bays, and the Parliament's historian, were removed, by order of the ministry. As to the family our author left behind him, some account of it will be given in the life of his son Dr. Charles Davenant, who succeeded him as manager of the theatre. Sir William's works entire were published by his widow 1673, and dedicated to James Duke of York.

After many storms of adversity, our author spent the evening of his days in ease and serenity. He had the happiness of being loved by people of all denominations, and died lamented by every worthy good man. As a poet, unnumbered evidences may be produced in his favour.

Amongst these Mr. Dryden is the foremost, for when his testimony can be given in support of poetical merit, we reckon all other evidence superfluous, and without his, all other evidences deficient. In his words then we shall sum up Davenant's character as a poet, and a man of genius.

'I found him, (says he) in his preface to the Tempest, of so quick a fancy, that nothing was proposed to him on which he could not quickly produce a thought extreamly pleasant and surprizing, and these first thoughts of his, contrary to the old Latin proverb, were not always the least happy, and as his fancy was quick, so likewise were the products of it remote and new. He borrowed not of any other, and his imaginations were such as could not easily enter into any other man.

His corrections were sober and judicious, and he corrected his own writings much more severely than those of another man, bestowing twice the labour and pain in polishing which he used in invention.'

Before we enumerate the dramatic works of Sir William Davenant, it will be but justice to his merit, to insert some animadversions on his Gondibert; a poem which has been the subject of controversy almost a hundred years; that is, from its first appearance to the present time.

Perhaps the dispute had been long ago decided, if the author's leisure had permitted him to finish it. At present we see it to great disadvantage; and if notwithstanding this it has any beauties, we may fairly conclude it would have come much nearer perfection, if the story, begun with so much spirit, had been brought to an end upon the author's plan.

Mr. Hobbes, the famous philosopher of Malmsbury, in a letter printed in his works, affirms, 'that he never yet saw a poem that had so much shape of art, health of morality and vigour, and beauty of expression, as this of our author; and in an epistle to the honourable Edward Howard, author of the British Princes, he thus speaks. My judgment in poetry has been once already censured by very good wits for commending Gondibert; but yet have they not disabled my testimony. For what authority is there in wit? a jester may have it; a man in drink may have it, and be fluent over night, and wise and dry in the morning: What is it? and who can tell whether it be better to have it or no? I will take the liberty to praise what I like as well as they, and reprehend what they like.'--Mr. Rymer in his preface to his translation of Rapin's Reflexions on Aristototle's [sic] Treatise of Poetry, observes, that our author's wit is well known, and in the preface to that poem, there appears some strokes of an extraordinary judgment; that he is for unbeaten tracts, and new ways of thinking, but certainly in the untried seas he is no great discoverer. One design of the Epic poets before him was to adorn their own country, there finding their heroes and patterns of virtue, where example, as they thought, would have the greater influence and power over posterity; "but this poet, says Rymer, steers a different course; his heroes are all foreigners; he cultivates a country that is nothing a-kin to him, and Lombardy reaps the honour of all. Other poets chose some action or hero so ill.u.s.trious, that the name of the poem prepared the reader, and made way for its reception; but in this poem none can divine what great action he intended to celebrate, nor is the reader obliged to know whether the hero be Turk or Christian; nor do the first lines give any light or prospect into the design. Altho' a poet should know all arts and sciences, yet ought he discreetly to manage his knowledge. He must have a judgment to select what is n.o.ble and beautiful, and proper for the occasion. He must by a particular chemistry, extract the essence of things; without soiling his wit with dross or trumpery. The sort of verse Davenant makes choice of in his Gondibert might contribute much to the vitiating his stile; for thereby he obliges himself to stretch every period to the end of four lines: Thus the sense is broken perpetually with parentheses, the words jumbled in confusion, and darkness spread over all; but it must be acknowledged, that Davenant had a particular talent for the manners; his thoughts are great, and there appears something roughly n.o.ble thro' the whole." This is the substance of Rymer's observations on Gondibert. Rymer was certainly a scholar, and a man of discernment; and tho' in some parts of the criticisms he is undoubtedly right, yet in other parts he is demonstrably wrong. He complains that Davenant has laid the scene of action in Lombardy, which Rymer calls neglecting his own country; but the critic should have considered, that however well it might have pleased the poet's countrymen, yet as an epic poem is supposed to be read in every nation enlightened by science, there can no objections arise from that quarter by any but those who were of the same country with the author. His not making choice of a pompous name, and introducing his poem with an exordium, is rather a beauty than a fault; for by these means he leaves room for surprize, which is the first excellency in any poem, and to strike out beauties where they are not expected, has a happy influence upon the reader. Who would think from Milton's introduction, that so stupendous a work would ensue, and simple dignity is certainly more n.o.ble, than all the efforts and colourings which art and labour can bestow.

The ingenious and learned Mr. Blackwall, Professor of Greek in the university of Aberdeen, in his enquiry into the life and writings of Homer, censures the structure of the poem; but, at the same time pays a compliment to the abilities of the author. "It was indeed (says he) a very extraordinary project of our ingenious countryman, to write an epic poem without mixing allegory, or allowing the smallest fiction throughout the composure. It was like lopping off a man's limb, and then putting him upon running races; tho' it must be owned that the performance shews, with what ability he could have acquitted himself, had he been sound and entire."

Such the animadversions which critics of great name have made on Gondibert, and the result is, that if Davenant had not power to begin and consummate an epic poem, yet by what he has done, he has a right to rank in the first cla.s.s of poets, especially when it is considered that we owe to him the great perfection of the theatre, and putting it upon a level with that of France and Italy; and as the theatrical are the most rational of all amus.e.m.e.nts, the latest posterity should hold his name in veneration, who did so much for the advancement of innocent pleasures, and blending instruction and gaiety together.

The dramatic works of our author are,

1. Albovine King of the Lombards, a tragedy. This play is commended by eight copies of verses. The story of it is related at large, in a novel, by Bandello, and is translated by Belleforest[3].

2. Cruel Brother, a tragedy.

3. Distresses, a tragi-comedy, printed in folio, Lond. 1673.

4. First Day's Entertainment at Rutland-House, by declamation and music, after the manner of the ancients. Of this we have already given some account.

5. The Fair Favourite, a tragi-comedy, printed in folio, 1673.

6. The Just Italian, a tragi-comedy.

7. Law against Lovers, a tragi-comedy, made up of two plays by Shakespear, viz. Measure for Measure, and Much Ado about Nothing.

8. Love and Honour, a tragi-comedy; which succeeded beyond any other of our author's plays, both on the theatre at Lincoln's-Inn, and Dorset-Garden.

9. Man's the Master, a tragi-comedy, acted upon the Duke of York's theatre.

10. Platonic Lovers, a tragi-comedy.

11. Play House to be Let. It is difficult to say, under what species this play should be placed, as it consists of pieces of different kinds blended together, several of which the author wrote in Oliver's time, that were acted separately by stealth.--The History of Sir Francis Drake, expressed by instrumental and vocal music, and by art of perspective scenes, and the cruelty of the Spaniards in Peru, were first printed in 4to. and make the third and fourth acts of this play.

The second act consists of a French farce, translated from Mollier[e]'s Ganarelle, ou le Cocu Imaginaire, and purposely by our author put into a sort of jargon, common to Frenchmen newly come over.

The fifth act consists of tragedy travestie; or the actions of Caesar, Anthony and Cleopatra in burlesque verse.

12. Siege of Rhodes in two parts. These plays, during the civil war, were acted in Stilo Recitativo, but afterwards enlarged, and acted with applause at the Duke's theatre. Solyman the second took this famous city in the year 1522, which is circ.u.mstantially related by Knolles in his History of the Turks, from whence our author took the story.

13. Siege, a tragi-comedy.

14. News from Plymouth, a comedy.

15. Temple of Love, presented by Queen Henrietta, wife to King Charles I and her ladies at Whitehall, viz. The Marchioness of Hamilton; Lady Mary Herbert; Countess of Oxford; Berkshire; Carnarvon: The n.o.ble Persian Youths were represented by the Duke of Lenox, and the Earls of Newport and Desmond.

16. Triumphs of the Prince d'Amour, presented by his Highness the Prince Elector, brother-in-law to Charles I. at his palace in the Middle Temple. This masque, at the request of this honourable society, was devised and written by the author in three days, and was presented by the members thereof as an entertainment to his Highness. A list of the Masquers names, as they were ranked according to their antiquity, is subjoined to the Masque.

17. Wits, a comedy; first acted at Black-Fryars, and afterwards at the Duke of York's theatre. This piece appeared on the stage with remarkable applause.

These pieces have in general been received with applause on the stage, and have been read with pleasure by people of the best taste: The greatest part of them were published in the author's life-time in 4to.

and all since his death, collected into one volume with his other works, printed in folio, Lond. 1673; and dedicated by his widow to the late King James, as has been before observed.