Lombards,' 4to, 1629, dedicated to the notorious Earl of Somerset, and ushered in by commendatory verses by Edward Hyde, subsequently Earl of Clarendon, William Habington, author of 'Castara,' [Sir] Henry Blount, and many others. No record of its having been acted is preserved. It was written in blank verse, and in the scene of the action and the names of the characters anticipated the author's poem 'Gondibert.' When inserted in the folio collection of 1673 it was abridged and, with no great loss of music, converted from blank verse into prose. A similar fate attended other pieces of D'Avenant's included in the same collection. The following year saw the production at the private theatre in Blackfriars of 'The Cruel Brother,' a tragedy, 4to, 1630, a powerfully written work, one character in which is apparently intended for George Wither, the poet. Malone calls this D'Avenant's first play, and says it was acted at the Blackfriars 1626-7. 'The Just Italian' bears the same date, and was acted at the same theatre. From the commendatory verses of Thomas Carew prefixed to the quarto edition it appears to have been badly received. It is a good piece, however. 'The Temple of Love,' 4to, 1634, a masque, was acted on Shrove Tuesday, 1634, at Whitehall. Inigo Jones, who was responsible for the scenery, is on the title-page associated with D'Avenant in the authorship. The actors in the masque consisted of the queen and the noblemen and gentlewomen of her court. This was followed, 24 Feb. 1635, according to the title-page, by 'The Triumphs of the Prince d'Amour,' 4to, 1635, presented in the hall of the Middle Temple for the entertainment of the two sons of the Elector Palatine. The queen, according to Sir Henry Herbert's manuscript, was present in 'a citizen's habit.' In 1635 D'Avenant printed Madagascar and other Poems' (reprinted 1648). With 'The Platonick Lovers,' a tragi-comedy, 4to, 1636, 12mo, 1665, presented at the private house in Blackfriars, D'Avenant ventured once more into the regular drama. In the title-page of this play, as in that of the 'Temple of Love,' and in some succeeding works, he describes himself as 'Servant to her Majestie.' 'The Wits' (4to 1636, 12mo 1665), a comedy, also played, 28 Jan. 1633, at the private house in Blackfriars, ranks as D'Avenant's comic masterpiece, and may compare for humour and merit with any piece of its epoch. It was, with the 'Platonick Lovers,' reprinted in 1665 in 12mo, as well as in the folio collection of 1673, was included in two consecutive editions of Dodsley's Old Plays,' and in Sir Walter Scott's' Ancient Drama,' 1810, was frequently revived after the Restoration, and won the

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often expressed approval of Pepys, who went to see it many times. 'The Wits' was licensed by Sir Henry Herbert 10 Jan. 1633. At the request of Endymion Porter, to whom it is dedicated, King Charles compelled Sir Henry to restore some passages he had struck out. This Herbert did with a bad grace, saying, under the date 9 Jan. 1663, The kinge is pleasd to take "faith," "death," "slight" for asseverations and no oaths, to which I doe humbly submit, as my master's judgment; but under favour conceive them to be oaths, and enter them here, to declare my opinion and submission.' Herbert chronicles that The Wits' was 'well likt,' and says 'the kinge commended the language, but dislikt the plott and characters. Britannia Triumphans,' a masque in which D'Avenant and Inigo Jones collaborated, 4to, 1637, was acted at Whitehall on the Sunday after twelfth night 1637, 'by the king's majestie and his lords.' It is not included in the folio collection, and is, with the two following works, unmentioned by Langbaine in his 'Account of the English Dramatic Poets,' though it and the 'Unfortunate Lovers' appear in his Momus Triumphans,' 688, 14to). Salmacida Spolia,' 4to, 1639, reprinted by Chetwood, Dublin, 1750, not included in the folio collection, was acted on Tuesday, 21 Jan. 1639, by the king and queen and their court. With the Unfortunate Lovers,' a tragedy, 4to, 1643 and 1649, and 'Love and Honour,' 4to, 1649, originally called the 'Courage of Love,' and afterwards named by Sir Henry Herbert the 'Nonpareilles, or the Matchless Maids,' both acted at the private house in Blackfriars, the list of plays known to have been acted under the patronage of Charles I is finished. These pieces must both have been played long before they were printed. Both were frequently acted after the Restoration. Under the date 8 April 1668 Pepys speaks of seeing the Unfortunate Lovers,' which he calls an extraordinary play.' On 21 Oct. 1661, and again on the 23rd, he saw 'Love and Honour,' observing on the latter visit and a very good play it is. A play entitled the 'Colonell' was entered 1 Jan. 1629 by Eph. Dawson on the books of the Stationers' Company, but nothing further concerning it is known. Sixteen months after the death of Ben Jonson (6 Aug. 1637) the office of laureate was, at the request of the queen, given (13 Dec. 1638) to D'Avenant. An illness resulted in the loss Upon this misfortune contemporary wits and poets, Suckling, Denham, and Sir John Mennis at their head, made much merriment, and many particulars and stories concerning it, with other records of D'Avenant's idle doings, are to be found

of his nose.

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12mo, 1651. From Lord-keeper Whitelocke he received some indulgence, which he acknowledged in a letter soliciting his liberty. That Whitelocke secured D'Avenant his freedom, which he soon obtained, is not known. In subsequent days, however, the keeper was a useful friend to the poet. The appearance of 'Gondibert' was followed in 1653 by that of Certain Verses written by severall of the Author's friends to be re-printed [sic] with the Second Edition of Gondibert,' and in 1655 by that of 'The Incomparable Poem Gondibert Vindicated,' &c. The authorship of the earlier poems is attributed to Denham and others, that of the second to D'Avenant. D'Israeli (Quarrels of Authors) first pointed out that the supposed defence is in fact another attack by the court wits, the piquancy of which is heightened by assigning it to the author himself. Aubrey asserts of 'Gondibert' that the courtiers with the Prince of Wales would never be at quiet about the piece.' D'Israeli is right. The satire in the latter poem is such as no man would or could apply to himself. D'Avenant after his release from imprisonment is not heard of for some years. Through his influence with Whitelocke he obtained permission in the later years of the Commonwealth to recommence a species of quasi-dramatic entertainments. The nature of these has been imperfectly understood. Though given at a private house the performances were in a sense public, seeing that money was taken at them. The first was modestly announced as 'The First Dayes Entertainment at Rutland House, by Declamations and Musick; after the manner of the Ancients, by Sir W. D.,' London, 1657, small 8vo. In this piece, which consists of four long speeches by Diogenes and Aristophanes and by a Parisian and an Englishman respectively on the question of the propriety of dramatic entertainments, a rhymed prologue and epilogue are spoken, and instrumental and vocal music by Dr. Coleman, Captain Henry Cook, Henry Lawes, and George Hudson, is introduced. With this slight so-styled opera, the date of performance of which has been assumed, from a marked copy in the British Museum, to have been 22 Nov. 1656, theatrical representations may be held to have recommenced in England. A writer in Notes and Queries' (2nd ser. v. 231) says that five shillings was the price of admission, that four hundred were expected, and but a hundred and fifty came, and adds from a contemporary manuscript that Mrs. Coleman and another woman took part in it. This was followed by The Siege of Rhodes. Made a Representation by the art of Prospective in Scenes and the story

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sung in recitative Musick,' 4to, 1656. This piece differs widely from that subsequently published as 'The Siege of Rhodes in Two parts,' 4to, 1663. It is in some respects the most epoch-marking play in the language. It was sung 'stilo recitativo,' and was practically the first opera produced in England; scenery was in its case for the first time employed in a play, as distinguished from a masque, and it introduced upon the stage the first Englishwoman (Mrs. Coleman) who ever in an English drama appeared upon it. A letter from D'Avenant to Whitelocke, accompanying the manuscript of this piece or the previous entertainment, and speaking of the nicety of the times,' is dated 3 Sept. 1656, after which date the first theatrical performance under the sway of Cromwell took place. The actors consisted of musicians, among whom were Matthew Lock, composer of the music to 'Macbeth,' Henry Pursill (Purcell), Captain Cook, Thorndell, Harding, and the Colemans, husband and wife. Lawes, Lock, and Cook were responsible for the music.

'The Cruelty of the Spaniards in Peru,' 4to, 1658, and 'The History of Sir Francis Drake,' 4to, 1659, were produced by D'Avenant at the Cockpit in Drury Lane, which he opened in 1658. These two pieces were subsequently incorporated with The Playhouse to be Let,' first printed in the folio collection, 1673. The first act of this strange medley is an introduction, the second a translation from Le Cocu Imaginaire' of Molière, spoken in broken English by performers supposedly French, the third "The History of Sir Francis Drake,' the fourth The Cruelty of the Spaniards in Peru,' and the fifth a short burlesque tragedy. Evelyn in his diary mentions seeing, 5 May 1659, a new opera after the Italian way in recitative, music, and sceanes,' but proclaims it inferior to the Italian, says it is 'prodigious that in a time of such publiq consternation such a variety should be kept up or permitted,' and adds that his heart smote him for witnessing it. Cromwell is said to have approved of the performance of "The Cruelty of the Spaniards in Peru,' which Sir Henry Herbert, in opposition to other authorities, and probably in error, says was in two parts. According to the 'Publick Intelligence' from Monday 20 Dec. to Monday 27 Dec. 1658, quoted by Malone, Richard Cromwell ordered a report to be drawn up with regard to the performance of opera at the Cockpit, and to examine by what authority it was 'exposed to publick view.' In 1659 D'Avenant was implicated in the rising of Sir George Booth (1622-1684) [q. v.] in Cheshire, and was committed to prison, but

was released 16 Aug. 1659. Upon the Restoration license (21 Aug. 1660) was given to D'Avenant and to Thomas Killigrew to erect' two companies of players. These and other documents are quoted by Malone. Sir William D'Avenant's company, known as the Duke's, from the Duke of York (afterwards James II), its patron, was established about March 1662 in a new theatre near Portugal Row, Lincoln's Inn Fields. Before the erection of this building it acted at the theatre in Salisbury Court. It comprised Betterton [q. v.], Nokes, Kynaston, and other actors assembled in 1659-60 by Rhodes, a bookseller near Charing Cross, who in the days of Charles I is said to have been wardrobe-keeper to the king's company of comedians at Blackfriars, and who when the army of Monck was approaching London had obtained a license to form a dramatic company. On 15 Nov. 1660 Betterton and his associates began to act at Salisbury Court under an agreement which they had formed with D'Avenant. Here, or at the Cockpit, they continued to act until March or April 1662. From his first attempt to establish his company D'Avenant met with constant opposition from Sir Henry Herbert, whose privileges and claims as master of the revels were disregarded both by D'Avenant and Killigrew. In a petition to Charles II, presented by Herbert in August 1660, Herbert protests against the permissions to erect playhouses as an unjust surprize' and as destructive to the power' he exercises. Of D'Avenant he speaks as one who obtained leave of Oliver and Richard Cromwell to vent his operas at a time when your petitioner owned not their authority. In spite of the opposition the grant passed the privy signet 21 Aug. 1660. Herbert then, in consequence of the unusuall and unreasonable rates' taken at the playhouse doores of the respective persons of quality that desire to refresh or improve themselves' by the sight of 'morrall entertainments,' despatched a warrant requiring the actors at the Cockpit at their peril to send all the plays they intended to act, that they may be reformed of prophanes and ribaldry.' Against this the actors petitioned. Herbert then brought an action against the players, and two actions against D'Avenant. The decision upon the case between Herbert and D'Avenant was referred by Charles, 30 June 1662, to the lord chancellor (Clarendon) and the lord chamberlain (Manchester). In the statement of his wrongs Herbert speaks of D'Avenant as a person who exercised the office of master of the revels to Oliver the Tyrant,' and is credibly informed' that he, the said D'Avenant, published a poem in vindication

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and justification of Oliver's actions and government, and an epithalamium in praise of Oliver's daughter, Mrs. Rich.' Herbert gained some of his cases, but court influence was against him, and the struggle to assert his powers was in the end abandoned. By the final conditions meanwhile under which the theatre in Lincoln's Inn Fields opened, the total receipts, after the charges for supernumeraries, &c., were deducted, were divided into fifteen shares, of which the actors took five, leaving D'Avenant ten, two towards the house rent, buildings, scaffolding, and making of frames for scenes; one for a provision of habits, properties, and scenes. . .; and seven to maintain all the women that are to perform or represent women's parts in tragedies, comedies, &c., and in consideration of erecting and establishing his actors to be a company, and his pains and expenses for that purpose for many years.' D'Avenant's gross receipts from the ten shares Herbert estimates at 2001. a week. The agreement bears date 5 Nov. 1660. The first part of the 'Siege of Rhodes' was the first piece acted by D'Avenant's company. It was followed by the second part of the same play, and after an interval by 'The Wits.' This piece was mounted with costly scenery, which Downes (Roscius Anglicanus), oblivious of the performances at Rutland House, calls the first that ever was introduced in England.' Mrs. Saunderson, afterwards Mrs. Betterton, was Iantha in the Siege of Rhodes,' and Mrs. Davenport Roxalana, a character which did not appear in the first sketch of the play. Mrs. Saunderson and Mrs. Davenport, with Mrs. Davies [q. v.] and Mrs. Long, were the four principal actresses, whom, in pursuance of the previously mentioned agreement, D'Avenant boarded in his own house. From the first D'Avenant's performances obtained a strong hold on the public. His theatre, in consequence of the name he gave his performances under Cromwellian rule, was known as the Opera. Pepys makes frequent reference to it. D'Avenant's Love and Honour,' printed in 4to, 1649, which was revived in 1661, had a great run, and produced 'the company much gain and estimation' (DOWNES, ib.) It was richly dressed -the king, the Duke of York, and the Earl of Oxford having given their coronation suits to Betterton, Harris, and Price' (ib.) On 18 Feb. 1662 D'Avenant produced his Law against Lovers' (folio collection), an alteration of 'Measure for Measure,' with the characters of Benedick and Beatrice introduced. Those of his own works with which D'Avenant opened had been rehearsed in the Apothecaries' Hall. The Playhouse to be

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Let' was probably among the pieces given at this period, but no record of its performance can be traced. Not until 1664 was "The Rivals,' 4to, 1668, performed. It was licensed for printing, not performance, 19 Sept. 1668. This is an alteration of 'The Two Noble Kinsmen.' This play D'Avenant never claimed. It is an indifferent production, introducing several songs and dances. One of these, My Lodging is on the Cold Ground,' was sung in a manner that obtained for the singer, Mrs. Davies [q. v.], promotion to royal favour. On 7 Nov. 1667, according to Pepys, 'The Tempest, or the Enchanted Island,' 4to, 1670, written by Dryden and D'Avenant in conjunction, was played for the first time. The play is not included in the folio collection of D'Avenant. Macbeth, a Tragedy; with all the Alterations, Amendments, Additions, and New Songs,' &c., 4to, 1673, 1687, and 1710, is assigned expressly to D'Avenant by Downes, who speaks of its being in the nature of an opera and of the singing and dancing in it, The first compos'd by Mr. Lock, the other by Mr. Channell and Mr. Joseph Preist.' There is no exact evidence when it was performed. Pepys saw a Macbeth'5 Nov. 1664, a pretty good play,' again 28 Dec. 1666, and once more 7 Jan. 1667, when he especially admired the divertissement, which he held a strange perfection in a tragedy.'Genest ascribes to 1672, when it was given at Dorset Garden, the first performance of this play, and holds, doubtless in error, that the 'Macbeth' given at Lincoln's Inn Fields was Shakespeare's. To this notion Pepys's mention of the divertissement seems fatal. The alterations in a wretched version of Julius Cæsar,' printed 12mo, 1719, are said to be by Dryden and D'Avenant. This reproach may, however, be spared both writers. The 'Man's the Master,' a comedy, 4to, 1669, 8vo, 1775, was acted at Lincoln's Inn Fields immediately before the death of D'Avenant and printed after his death. It is an excellent comedy and was revived in 1726 and again, with some alterations supposed to be due to Woodward, in 1775, being the only play of D'Avenant's that was performed at anything approaching to so late a date. In addition to these works there are included in the folio edition, but not otherwise known to be printed, News from Plymouth,' The Fair Favourite,' 'The Distresses' (believed to be the same as is elsewhere called 'The Spanish Lovers'), and 'The Siege.' These plays are supposed to have been acted in the time of Oliver and Richard, first printed in 4to, and afterwards revised and inserted in the author's works' (Biographia Britannica). As none of the quartos survive, the

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latter portion of the statement seems very doubtful. With these may be associated as also appearing for the first time in the folio collection the 'Law against Lovers' and the 'Playhouse to be Let.' Of these the 'News from Plymouth' was licensed by Sir Harry Herbert. 1 Aug. 1635, The Fair Favourite' 17 Nov. 1638, and The Spanish Lovers' 30 Nov. 1639. D'Avenant had lodgings at the playhouse in Lincoln's Inn Fields, where he died 7 April 1668, and was buried on the 9th in Westminster Abbey, in the grave vacated by May, his former rival for the laureateship. Langbaine and Wood both noted that the laureate wreath, which by the law of heraldry appertained to him,' was wanting from his coffin, which Sir John Denham says was the handsomest he ever saw. On his grave is written, in imitation of that of Ben Jonson, ‘O rare Sir William D'Avenant.' Pepys, who wrote, 7 April 1668, I hear Sir William D'Avenant is just now dead,' saw the corpse carried to Westminster. He says, 9 April 1668: There were many coaches and six horses, and many hacknies, that made it look, methought, as if it were the buriall of a poor poet. He seemed to have many children, by five or six in the first mourning coach, all boys.' D'Avenant left no will. His sons Charles and William are separately noticed. His widow, Maria or Mary (d. February 1690-1, buried in St. Bride's, Fleet Street, 24 Feb.), in 1668 administered to his effects. His first wife, Anne, described as of Castell Yard, subsequently Castle Street, Holborn, now Furnival Street, was buried 5 March 1654-5, in the churchyard of St. Andrew, Holborn. D'Avenant is described as of the parish of St. Clement Danes. At the time of his death a new theatre for his company had been begun in Dorset Garden. He married twice, having by his first wife a son, whom Aubrey describes as 'very beautiful and ingenious,' and by the second, Charles D'Avenant [q. v.] and several other children. D'Avenant was a man of courage, spirit, industry, and resource. To a certain extent he had the vices of his time. His work after his earliest production is manly, and for the age exceptionally decorous and moral. In his best work he rises to the level of Shirley; ordinarily he is on a level with Randolph and Brome. The scheme of 'Gondibert,' which was to be as a play proportioning five books to five acts and cantos to scenes,' was singularly unhappy, and the religious aim which in his long letter to Hobbes he avows did much to expose his book to the gibes of the courtiers. Gondibert' has obtained the praise of good judges. It is, however, a book to be praised rather than read,