Jacobean and Caroline
Drama
Shakespeare and Jonson
dominate our picture of early 17th century drama to such an extent that it is
easy to forget that there were many other dramatists writing plays at the time.
One of the most fascinating aspects of Jacobean drama is the sheer volume of
potential material. Hundreds of plays (400 or 500 at least) were written and
produced between 1600 and 1640. Many of these were never printed and have not
survived, but very many plays have been preserved. The variety of settings,
topics, and treatments is so huge that it defies all the critics' attempts to
classify and make tidy patterns.
At the same time,
relatively few of these plays are usually thought to be of very great interest
to modern audiences and only a handful are now acted, or even studied in
university courses. One reason may be the fact that so many of the plays are
collaborative works involving more than one writer's talents; romantic notions
of individual authorship do not leave room for this kind of writing and even
when Shakespeare collaborated, as he did in Henry VIII and The Two
Noble Kinsmen, the result is mostly neglected. Modern rejections of
authorship have given birth to new interest in precisely this kind of text.
The social background
The end of Elizabeth's
reign was marked by increasing social tensions. The rebellion led by the earl
of Essex in 1599 was symptomatic of increasing dissatisfaction among the nobility
and gentry with royal arrogance. This became far stronger with the accession of
James I with his doctrines of royal absolutism and the "divine right of
kings". At the same time, the merchant classes were becoming increasingly
wealthy and eager to participate in the development of the national policies on
which their wealth depended; they were aspiring to join the ranks of the
powerful lords whose wealth derived from hereditary possession of land.
London was therefore an
intensely politicized society at a time
when those with power
were feeling threatened. Directly political, or even satirical, writings were
forbidden and many of the dramas comment on social or political issues in
indirect ways, always trying to avoid the official censorship that became
increasingly fierce as the social crisis deepened, especially after 1625 during
the reign of Charles. Most of the plays acted were written during the reign of
James and repeatedly revived until the theatres were closed by the puritans in
1642.
The audience for the
plays acted in Shakespeare's time was socially a very mixed one, ranging from
well-educated lords to simple apprentices. From the start of James's reign,
however, there are signs that Shakespeare and several of his colleagues are
writing more and more for the tastes of the upper class. From about 1608, the
King's Men were producing plays for a more refined audience in the Blackfriars
Theatre, while still using the Globe Theatre for more general
audiences.
The immense variety of
settings and plots found in the Jacobean dramas was a natural development from
the classical comedy and chivalric or pastoral romance. The view of human
nature grows increasingly skeptical, vice is an essential ingredient of most
plays, and often the ending is troubling rather than comforting, with no
obvious victory of virtue. Perhaps as a result of this more ironic attitude,
many plays are self-consciously "dramatic" (modern critics often use
the word metadramatic) and merrily subvert the illusion they are supposed to
create by reminding the audience that they are watching actors perform¡©ing a
play in a theatre. The world-view expressed in the plays strongly suggests that
human life itself is all a theatre, and that people in society are both actors
and spectators in the theatrum mundi.
The Jacobean plays were
written to please an audience that would attack the actors and break up a
theatre if it did not like the play it was watching. This helped ensure a
maximum entertainment value. The closest modern parallel to these plays would
be popular cinema, films of adventure or violence, horror or sentimental
romance. In reading the plays of the Jacobeans we are brought into close
contact with the tastes, fears, and expectations of early 17th century London.
Drama in the Restoration was to be a much more limited affair, written for a
limited sophisticated audience.
In the pages that
follow, the date placed after the title of a play indicates when it was first
performed; printed publication often only came
years later.
Francis Beaumont (1584/5 - 1616)
Beaumont came from a
distinguished family of rural gentry; as a boy he studied at Oxford and then at
the Inner Temple (London) but it seems he was only interested in writing for
the theatre. He associated with Drayton and Ben Jonson. He wrote two plays
alone: The Woman Hater (first produced in 1605) and The Knight of the
Burning Pestle (first produced in 1607). This latter was a failure at the
time, yet it is today admired as a brilliant satire of the tastes of
respectable citizens and one of the best works of the time.
In 1605 he first met
John Fletcher and they began to work together writing plays. Fletcher too had
failed to please the London audience with his Faithful Shepherdess
(1608) written alone; yet the collaboration at once produced successful plays.
Beaumont wrote the major part of three particularly important works: the tragicomedy
Philaster (also known as Love Lies A-Bleeding ), acted by
Shakespeare's company at their Blackfriars theatre in 1609 or 1610; the
romantic tragedy The Maid's Tragedy, from the same period, and the
incest-centred A King and No King (1611). In 1613 Beaumont married an
heiress and retired to the countryside where he died after only a few years. The
Maid's Tragedy was revived at the Restoration and enjoyed great popularity
with a happy ending written by Waller.
John Fletcher (1579 - 1625)
In 1647 a folio edition
containing thirty-four plays attributed to "Beaumont and Fletcher"
was published; in 1679, a second edition increased the number to fifty-two but
Beaumont only contributed to a few of these, Fletcher mostly worked alone or
with Massinger and others. The folio was the form reserved for the finest
literary work; Jonson and Shakespeare are the only other dramatists to have
their works preserved in such a format.
Because he often worked
with collaborators, Fletcher's own talents have been hard to distinguish. Yet
he must obviously have been a very gifted dramatist in his own right. His
father was for a few months Bishop of London in 1595 before he died, deeply in
debt. Like Beau¡©mont, Fletcher was a disciple of Jonson. An early attempt at
pastoral tragi-comedy, The Faithful Shepherdess (1608) inspired by
Guarini's Il Pastor Fido failed to please the audiences, it was perhaps
rather ahead of its time.
Fletcher collaborated
with Shakespeare in writing The Two Noble Kinsmen (1613), a play based
on Chaucer's Knight's Tale, and perhaps other plays, after his
collaboration with Beaumont ended in 1613. He wrote a large number of plays
with Massinger, including Sir John Van Olden Barnavelt (1613) and The
Custom of the Country (1620). Other collaborators include Nathan Field and
William Rowley. With Massinger Fletcher wrote Beggar's Bush (1622), a
play that was successfully revived at the Restoration and often acted in the
18th century. Coleridge praised it as "sylvan and sunshiny".
Among the plays Fletcher
seems to have written alone is the exotic tragi-comedy The Island Princess
(1619), set in the East Indies and based on a recent Spanish publication. Other
titles by Fletcher alone include The Humorous Lieutenant (1619), The
Wild-Goose Chase (1621), and Rule a Wife and Have a Wife (1624).
After Shakespeare's retirement and death (1616) Fletcher was the main writer
for the King's Men, who were concerned to provide plays that would please the
genteel audiences of the private theatres. The original Globe burned in 1613
and although it was rebuilt, the old open-air theatres were losing their
appeal.
Fletcher's plays are of
two main kinds: tragi-comedy and comedy of manners. His main inspiration comes
from the European pastoral romance tradition represented in English by Sidney's
Arcadia. The feelings are of the highest kind; often noble characters
make subtle distinctions between the demands of love and honour that put them
in terrible situations; the dramatist seems to enjoy forcing his characters to
confront innumerable near-disasters before bringing them to a happy ending
where vice is punished and virtue rewarded.
Fletcher's rhetorical
skill was considerable, he was a master at writing in a variety of styles. The
following speech from Act One of The Island Princess is a well-known
piece that is thought to have had an influence on Milton in some of the loftier
passages of Paradise Lost:
We are arriv'd among the
blessed Islands,
Where every wind that rises
blows perfumes,
And every breath of air
is like an Incense:
The treasure of the Sun
dwells here, each tree
As if it envied the old
Paradise,
Strives to bring forth
immortal fruit; the spices
Renewing nature, though
not deifying,
And when that falls by
time, scorning the earth,
The sullen earth, should
taint or suck their beauties,
But as we dreamt, for
ever so preserve us:
Nothing we see, but
breeds an admiration;
The very rivers as we
float along,
Throw up their pearls,
and curl their heads to court us;
The bowels of the earth
swell with the births
Of thousand unknown gems,
and thousand riches;
Nothing that bears a
life, but brings a treasure.
Fletcher played a vital
role in developing the comedy of manners that dominated the theatre after the
Restoration and into the 18th century, drawing on the London scene created by
Jonson and Middleton. Such plays have stock characters, including wild young
men, confused matrons, solid citizen-fathers, and lively young girls, involved
in variations on the traditional themes of love, lust, greed, and marriage.
Thomas Middleton (1580 - 1627)
After studying at
Queen's College, Oxford, Middleton returned to his native London and by 1602
was writing for Philip Henslowe (the Admiral's Men) as well for Paul's boys
company. He also composed the texts for a number of emblematic city
"entertainments" and "solemn¡©ities". He is known to have
written or have been the main collaborator in some 40 dramatic works: comedies,
tragedies, or entertainments. Dekker, Fletcher, Rowley, and Webster wrote with
him. He had an official position as City Chronologer of London from 1620.
Middleton's work is
marked by a satiric vein; "luxury" as a combination of sexual
passion, greed, and social climbing is the main preoccupation of most of his
characters, who inhabit a world where everything seems to have its price and
where deception is normal practice.
His world is that of
London's rising middle class, even when he disguises the setting as an exotic
Spanish one. His plays observe human vices, without romanticizing and often
with mocking laughter.
He is a master of
complex multiple plots and writes a smooth, effective dramatic verse. Among his
more often read plays are comedies like Michaelmas Term (1606) where an upstart draper dreams of
becoming a respectable gentleman, or A Chaste Maid in Cheapside (1611)
with its vivid figure of Master Allwit who happily allows Sir Walter Whorehound
to pay his wife for sex. Sir Walter supports the whole family until he is
ruined, when he is thrown out and the Allwits prepare to open a brothel.
The characters in
Middleton's tragedies are equally vicious, usually more lustful than greedy for
wealth, as can be seen in The Changeling (1622) or in Women Beware
Women (c. 1625) where Livia manipulates two other female characters into
corruption and vice before her plots ensnare her and everyone dies, except two
fools. Violence is given a free reign
The play A Game at
Chess (1624) has attracted particular interest because in it Middleton
ventured to deal very directly with forbidden issues of politics and religion.
Seeming to depict a game of chess, it comments on the way James and his heir
Charles were trying to form an alliance with Catholic Spain against the wishes
of most English people. England and Spain, Protestant and Catholic, are the two
sides in the game and each of the pieces represents a major political figure,
including the Spanish ambassador as
the Black Knight opposite Prince Charles, the white knight.
After being acted for
nine days in succession at the Globe, a very rare event for a play, and earning
a huge amount of money, it was banned, the King's Men were forbidden to act for
a while, and the dramatist was threatened with arrest. Such directly political
works were rare but the same political tensions underlie all the plays of the
period.
One famous play that may
in fact be by Middleton, The Revenger's Tragedy (1606), has been
attributed to Cyril Tourneur since 1656; it was originally published without
any indication of the author's name. It is one of the very great works of the
period and it seems more likely that it was the work of a talented writer like
Middleton.
Philip Massinger (1583 - 1640)
Born in Salisbury and
educated for a time in Oxford, Massinger began working as a playwright soon
after arriving in London in 1606. The author of more than thirty plays, he
collaborated with Fletcher in many but he also worked with Field, Daborne,
Tourneur, and Dekker, as well as writing alone. He wrote regularly for the
King's Men from 1613 until 1623 and after the death of Fletcher he became their
chief writer for the rest of his life.
Massinger, like
Middleton, was not afraid to write about forbidden topics, including
Catholicism, Spain, and royal favourites. Massinger shows close acquaintance
with the works of Shakespeare and some wonder if it was not Massinger, rather
than Fletcher or Middleton, who collaborated with Shakespeare at the end of his
career in Henry VIII and The Two Noble Kinsmen.
Few of Massinger's many
plays are now read or studied, with the exception of his comedy A New Way to
Pay Old Debts (c. 1621), which has been much admired since Garrick revived
it in the 18th century. It is still produced; the central character Sir Giles
Overreach is a usurer and extortioner of tremendous power who prefigures the
Victorian taste for melodramatic villains. Both it and The City Madame
(perhaps 1632) are based on earlier plays to which Massinger has brought new
life by creating monstrous characters of his own. Like the Augustans of the
18th century, Massinger's satire seems aimed at the vulgar city rich whose
pretensions threaten the role of the traditional rural aristocracy in maintaining
virtue.
Thomas Heywood (1573 - 1641)
Born in Lincolnshire,
Thomas Heywood was already writing for Henslowe by 1596 and from 1598 he was
himself acting in the Admiral's Men as well. Later he joined the more popular
companies at the Red Bull and Cockpit theatres. His active life therefore spans
the entire period, and it was very active. He claimed to have written or helped
write 220 plays (35 survive). He also wrote masques, poetry, composed a
treatise
in favour of the theatre
in An Apology for Actors (1612), as well as writing a number of
anti-Catholic and other prose works. He also translated Ovid's De Arte
Amandi.
He wrote in most of the
popular modes. His classical tragedies include The Rape of Lucrece and a
series of plays based on Greek myths. He also wrote English history plays: If
You Know Not Me, You Know Nobody (also known as The Troubles of Queen
Elizabeth) (1605) and King Edward the Fourth (before 1599). His most
well-known work is a two-part romance adventure, Fair Maid of the West
(or A Girl Worth Gold) (1610?) which travels far and wide with a true,
simple, chaste heroine Bess as its main character rescuing her lover in the
first part, marrying him and coming home in the second. Heywood's very early
chivalric romance The Four Prentices of London (1592?) was satirized by
Beaumont in The Knight of the Burning Pestle.
Heywood's main work, A
Woman Killed with Kindness (1603), is usually categorized as "a
masterpiece of bourgeois realism and domestic tragedy". The violent male
attitude toward supposedly adulterous women commonly found in renaissance
literature, which usually involves murdering them on the spot without further
enquiry ( for example, Othello), is abandoned in favour of a much more
complex solution involving forgiveness by a grieving husband, and painful
remorse leading to death for the wife.
Thomas Dekker (c. 1570 - 1632)
Dekker was born in
London. He was a writer of plays and pamphlets in which we find an optimistic,
affectionate attitude towards ordinary people and their misfortunes that
contrasts with that of the more cynical dramatists. He mostly collaborated with
Webster and, later, with Ford. Alone, he could write brilliant colloquial
dialogue and create charming characters but had no sense of plot structure. For
six years (1613-19) he was in prison for debt.
Dekker's most widely
admired work, The Shoemakers Holiday (1599) comes at the very start of
his career and shows clearly his closeness to the earlier Elizabethan ethos
found in Robert Greene's works, for example. The romance is tender, the farce
is hearty and boisterous, there are charming
songs and lively dances,
the prose dialogue is colloquial. It may not be a coincidence that the play is
set in London at the time of Henry V's French wars like Shakespeare's Henry
IV plays that were playing at the Globe at about the same time.
He and Marston were
criticized by Ben Jonson in The Poetaster; they retaliated in the
opening of Satiromastix (1601). Afterwards he and Webster produced the
comedies Westward Ho and Northward Ho. With Middleton he worked
on Part I of The Honest Whore (1604) but unfortunately tried to write
Part II alone. He also worked with Middleton on The Roaring Girl a few years
later, based on the true story of a girl commonly known as Moll Cutpurse, who
is depicted as a tender-hearted rascal. In many plays, Dekker shows apparently
stern fathers and masters to be good-humored and kind deep down.
In later times, writing The
Witch of Edmonton (1621) with Rowley and Ford, we find him showing how
cruel neighbours drove an ignorant poor woman to practice witchcraft. He was
sympathetic to the sufferings of the poor, he hated cruelty. His didactic,
moralizing pamphlets offer fascinating insights into the life of London in the
early years of James's reign, especially The Wonderful Year (1602) with
a vivid picture of London during the plague, and The Gull's Horn-Book
(1609) which includes a section on the way fashionable young men showed off at
the popular playhouses, sitting on the stage and mocking the actors or the
play.
John Marston (1576 - 1634)
Marston was at Oxford
for two years until 1594 but then moved to the Middle Temple, where he stayed
for more than ten years. He was reputed for his love of bitter satire, and in
some ways recalls John Donne. His works are experimental, unlike those of other
dramatists in many ways. He was in bitter conflict with Ben Jonson during the Poetomachia
but later they became friends. He wrote for Paul's boys company and others, was
associated with the Queen's Revels company after 1604. In 1609 he became a
priest in the Church of England and stopped writing. His collected Works
including both comedies and tragedies were published in 1633.
The bitter side of his
world-view marks Antonio and Mellida (1599) and its terrible sequel Antonio's
Revenge (1599) is the culmina¡©tion of the "revenge tragedy"
tradition. Set in a sordid Venice, the dreadful moral degeneration of Antonio
suggests that the human race consists of "vermin bred of putrefacted
slime".
Most critics recognize The
Malcontent (1604) as his greatest work. It offer a tragi-comic satire of
court and world without the dark excesses of the earlier plays. It clearly owes
much to Hamlet and it was acted at the Globe by the King's Men, who
stole the book from the Children of Blackfriars; Malevole was acted by Richard
Burbage, who played Hamlet. The "metadramatic" induction to the play
was composed by Webster; in it the actors who are about to perform the play
discuss its qualities.
Another work in which
the world of London's low life is central is the comedy The Dutch Courtesan
(1604?) where moral issues such as the relationship between love and lust are
discussed. In 1605, Chapman and Marston collaborated with Jonson on the parody
of the "citizen comedy" Eastward Ho which displeased the king
because of its insulting references to Scotsmen. Jonson and Chapman were
imprisoned for it, but not Marston, it seems.
Almost at the end of his
career, he composed a high-minded classical tragedy, The Wonder of Women
(The Tragedy of Sophonisba) in a far more demanding style that would
deserve closer study than it receives.
John Webster (c. 1580 - 1630s)
Given the fame of The
Duchess of Malfi, astonishingly little is known of the life of its author.
Neither the place or the date of his birth or death are known and virtually
nothing of what happened between the two, except that he wrote a few plays and
collaborated in writing others. He is known for two works, The White Devil
(1612?) and The Duchess of Malfi (1613-4?).
Both plays cater to an
audience's taste for blood, violence and horror that would today be satisfied
by films such as "Dracula". Their stories come from Italian novellas
inspired by actual incidents. The plays portray incest, adultery, murder,
employing various methods of killing; the overall atmosphere is sombre yet the
main characters face death with such great dignity that simple moralistic
distinctions between right and wrong, good and evil become meaningless.
Society is portrayed as
an essentially corrupt and wicked realm in which human lives count for little
or nothing. Webster epitomizes one aspect of the drama of his time, using a
language so full of echoes of earlier plays that it sometimes seems that every
line is a quotation.
John Ford (1586 - 1640)
After studying in
Oxford, Ford seems to have had a long association with the Middle Temple in
London but nothing is known about his life. He was essentially a Caroline
dramatist, there is no explanation as to why he began to write so late. It is
not possible to determine just when his plays were written and produced.
Ford seems to have
contributed the sub-plot to Dekker and Rowley's The Witch of Edmonton
(1621) but his first independent play was The Lover's Melancholy (1628),
a study of madness and despair that owed much to Ford's great interest in
Robert Burton's The Anatomy of Melancholy. All his plays show an intense
interest in abnormal psychol¡©ogy and ethical paradox
Ford's most well-known
play is the tragedy 'Tis Pity She's a Whore (c. 1630), set in Italy, in
which the tragic characters on which the play focusses are a brother and sister
guilty of incest. The impossibility and yet beauty of their relationship is
delicately handled. The Broken Heart has a similar subtlety of
psychology but a weaker plot with more sensational effects of violence and
death.
It is rather surprising
to find Ford as the author of one of the last chronicle plays. Perkin
Warbeck follows the career of a pretender to the throne of England in the
reign of Henry VII who attempts an invasion and is finally executed. Ford makes
the play more interesting by showing us a Warbeck convinced that he has a right
to the throne, hence the victim of a delusion, whereas in history he seems to
have been a mere imposter.
James Shirley (1596 - 1666)
It is hard to understand
the neglect into which Shirley has fallen. He wrote as many plays as
Shakespeare and was also a talented poet, writing lyrics and a short epic. He
was born in London, studied at Cambridge, became a priest but joined the
Catholic Church in about 1625. He was also a school master for a time. After
that he settled in London, began to write plays, and was associated with the
court. He was one of the rare Caroline dramatists, writing for companies in
Dublin as well as in London. He fought on the royalist side during the Civil
War, had his poems published in 1646 by Humphrey Moseley (like so many others),
survived during the Commonwealth by teaching, and lived to see the Restoration.
His plays include
multi-plotted romantic comedies like Hyde Park (1632) set in London with
"realistic" touches and lively characters, tragi-comedies like The
Young Admiral (1633) with complex plots where honor brings people into
terrible dilemmas but all ends well, and tragedies like The Politician
(1639?) or The Cardinal (1641) in which polarized qualities of good and
evil confront one another.
Sir William Davenant (1606 - 1688)
Born in Oxford, Davenant
(also written D'Avenant) was sometimes said to have been Shakespeare's bastard,
the result of a visit by Shakespeare to Oxford. He served Fulke Greville, Lord
Brooke, who in youth had been Sir Philip Sidney's friend and biographer for a
time, then during the 1620s began to write masques for the court, and plays.
When Ben Jonson died in 1637, his pension as unofficial "poet
laureate" came to Davenant. He managed the Cockpit theatre in Drury Lane
until the puritans closed the theatres in 1642.
He was knighted for his
services to the Royalist side during the Civil War, travelled in Europe for the
king's cause, and in 1650 joined the court in exile in Paris where he knew
Hobbes. He was appointed Lieutenant Governor of the colony in Maryland but was
captured by puritans and imprisoned in the Tower of London until 1652.
Davenant was the main
agent of continuity between the
pre-Commonwealth theatre
and the Restoration. From 1656 he organized dramatic performances with music at
Rutland House, and by calling them "operas" he avoided the laws
against "plays". The Siege of Rhodes (1656) began with an
induction where Diogenes and Aristophanes argue the case for and against public
"entertainments"; after this followed the musical drama that is
counted as the first opera performed in England. In 1658 he transferred the
performances to the Cockpit Theatre. At the Restoration, Charles II gave him
and Thomas Killigrew a monopoly on acting in London.
Davenant opened a
theatre in Lincoln's Inn but later transferred it to Covent Garden. Thus the
association of Drury Lane and Covent Garden with theatre, which still continues
today, dates from Davenant. In the Restoration theatre the influence of French
classical drama led to the introduction of women actresses and also of moveable
scenery. Davenant joined with Dryden in adapting for the taste of the age some
of Shakespeare's plays, including The Tempest (1667).
There are also a number
of little known figures who played a role in the dramatic history of the time:
Anthony Munday (1560-1633)
Munday tried to be a
clown of the old kind like Tarlton or Kempe but failed, worked as a spy against
the Catholics living in Italy, translated prose romances that were very
popular, wrote vivid pamphlets about crimes and executions; he even wrote
against the theatre in the "War of the Theatres" supporting Gosson
although he wrote many plays for Henslowe now mostly lost. Among the works that
survive is Sir Thomas More, a manuscript fragment written by various
hands, perhaps never completed and never produced, in which one scene seems to
be in Shakespeare's own handwriting, the only Shakespearean literary
manuscript.
William Rowley (1585 - 1626)
Rowley collaborated with
other more famous writers on many
plays, including
Middleton, with whom he wrote The Changeling, providing the subplot. He
was a comic actor with the King's Men from 1623 and the clown parts written for
himself are among his best, including the role of Cuddy Banks in The Witch
of Edmonton. He composed citizen comedies and one tragedy, All's Lost by
Lust.
Cyril Tourneur (1575 - 1626)
In 1656, a man called
Edward Archer affirmed that the impressive revenge tragedy published
anonymously in 1607 under the title The Revenger's Tragedy had ben
written by Cyril Tourneur. Almost certainly, Archer was confused by the
similarity between this title and the title of Tourneur's own work The
Atheist's Tragedy published in 1611. Judging by the quality of this latter
work, Tourneur could never have invented the telling plot or written the subtle
poetry of The Revenger's Tragedy which bears all the marks of
Middleton's skills.
Tourneur was a gentleman
associated with powerful families who seems to have written a few plays in
moments of leisure or financial need.
Richard Brome (1590 - 1652)
Significant as one of
the rare Caroline dramatists, Brome started as a servant to Ben Jonson, who
seems to have encouraged him. Most of his plays continue the tradition of
satiric comedy started by Jonson, although Brome has none of Jonson's fierce
passion or refined art. Instead he wrote pleasant works, about twenty of which
have survived, including The Northern Lass (1629) and A Jovial Crew
(1641). Together with Heywood he wrote The Late Lancashire Witches as a
topical melodrama. His The Love-Sick Court (1633?) is something of an
heroic drama, but perhaps was intended to be a satire of the mode?
Thomas Nabbes (1605 - ?)
The "minor"
dramatist Nabbes disappears completely from history after writing three
comedies, two tragedies, and three masques in the 1630s. Covent Garden
is yet another of those many comedies set in London and full of entertaining
characters whose pursuits of vice or love conclude in the triumph of virtue and
the reformation of vice. The actors destined to perform his dreadful tragedy The
Unfortunate Mother are reported to have refused to act it.
Thomas Killigrew (1612 - 1683)
One of the rare
courtiers to write plays, Killigrew became page to Charles I in 1633. He wrote
three tragi-comedies, based on popular French romances, that were acted in the
1630s. A comedy The Parson's Wedding depicts the fashionable London of
1639, it offers a lively picture of the adventures of a group of wits. It was
produced in 1664, when Samuel Pepys saw it. He tried to join the cavalier army
but was imprisoned. In 1647 he joined the exiled prince Charles in Paris and
served him as a diplomat. During his years abroad he wrote a tragedy The
Pilgrim and a couple of romances, before beginning Thomaso; or, The
Wanderer which is set among English exiles living in Madrid.
Killigrew's main
importance in the history of English drama is as the man who built the Theatre
Royal in Drury Lane in 1663, thanks to the monopoly he shared with Davenant.
Restoration drama
The drama of the
Restoration owed much to the last stage of pre-Civil War drama. To that came
the influence of the French classical theatre of Pierre Corneille (1616 -
1684), Molière (1622 - 1673), and Jean Racine (1639 - 1699) with it stress on
the classical unities of plot, place, and time. Perhaps the most striking
innovation at the Restoration was the introduction of women onto the stage.
Four names stand out as
new dramatists in the Restoration: John Dryden ((1631 - 1700), Sir George
Etherege (1634 - 1691), William Wycherley (1641 - 1715), William Congreve (1670
- 1729), to whom have also to be added Farquhar, and Vanbrugh. Generally
speaking, the early Restoration plays were particularly marked by sexual
adventure of a libertine kind, a rather cynical approach to true love and
marital fidelity, and much wit exposed in complicated situations of deceit and
seduction. The comedy of manners gradually developed a more subtle tone and a
wit better matching the demands of the emerging society, for which nothing
should be too explicit or shocking.
Early in his career,
Dryden showed skill in the higher tones of rhymed heroic drama: The Indian
Queen (1664) or The Conquest of Granada (1670); he also wrote
comedies such as An Evening's Love (1668); Dryden's most interesting
early work is found in tragi-comedies such as Marriage à-la-Mode (1672).
He quickly began to adapt plays by Shakespeare to the very different tastes of
the age, starting with The Tempest in 1667.
As he matured, he began
to reflect on the use of rhyme in drama; the great heroic drama Aureng-Zebe
(1675) is rhymed but in its prologue Dryden denounces rhyme and his next
adaptation of Shakespeare, All for Love (an adaptation of Antony and
Cleopatra, 1678) is in blank verse. In the 1680's, Dryden took the Catholic
side in the constitutional crisis, becoming a Catholic himself, and this
provoked plays like The Spanish Fryar (1681). His new religion meant
that in 1688 he lost his regular pensions; to earn money he wrote Don
Sebastian (1689), Amphitryon (1690) and Cleomenes (1692).
In many ways, Etherege
was a major innovator; the lively comic subplot of his first play, The
Comical Revenge, or Love in a Tub (1664), laid the foundations for the full
comedy of manners found in Congreve and the 18th century's Goldsmith. Molière
and Italian farce were important influences. His most admired play is The
Man of Mode (1676) but then he married a rich widow, followed James Stuart
into exile, and died in Paris.
William Wycherley's four
plays are more easily enjoyable than most of Dryden's, and more characteristic
of Restoration theatre with their explicit interest in sexual intrigues,
society scandals, amusing rogues; they are society comedies, set in
contemporary London. His last two plays, particularly, are still quite often
acted: The Country Wife (1675) and The Plain-Dealer (1677). It is
not clear why he wrote no more plays
but in 1679 he married
the widow of the earl of Radnor, the countess of Drogheda, and perhaps
considered writing plays unworthy of him. Later he became a close friend of
Alexander Pope.
William Congreve led the
way toward the more restrained tone of the 18th century, with his more subtle
wit and greater sensitivity to the different social pressures operating on the
people involved in love affairs and sexual adventures. His four comedies remain
popular, especially Love for Love (1695) and The Way of the World
(1700). As he rose in society, working in government posts, he stopped writing
plays and frequenting people such as Swift and Pope as well as Steele.
Major themes of Jacobean
drama
Among the main
characteristics should be mentioned the problems of knowledge, trust, and
security. As in Shakespeare's plays, we find a constant "play"
between seeming and being, illusion and reality; in so many works people wear
disguises, or adopt false identities, while good characters mistake villains
for honest friends, and villains are "hoist with their own petard".
It seems impossible to know for sure what a person is, there is a pervasive
crisis of identity that equally affects characters' knowledge of themselves.
Another theme common to
many works is the link between sexual lust and death. Mortality looms large in
most of the plays, a gloomy pondering on the prospects of Hell, a strong sense
of the illusory nature of this world's pleasures. The abundant bloodshed in the
last acts is often accompanied by a sense of amusement; the violent deaths in
many plays are strongly fictionalized or rendered ironic while others are
rendered poignant and naturalistic.
The pessimistic view of
society as a corrupt and corrupting environment is accompanied by a feeling
that many simple people escape the corruption and live quite happy lives away
from the courts. There is a touching belief in the moral goodness and happiness
of simple people. Very often the rulers shown in plays are kings and dukes who
seem never to rule over a realm; their power serves only to enable them to
indulge their lusts.
Ultimately, we are given
many pictures of the fragility and potential collapse of all human
relationships. Social relationships are threatened by the all-pervading
corruption of values that characterizes the court and the city; everything
becomes a matter of "politics", lying is the standard method, and
self-interest the ultimate value. This crisis in relationship equally threatens
to destroy the family. The dramas focussing on adultery and incest suggest that
sexual passions are stronger than the "natural" laws governing
parental and conjugal bonds.
The plays, especially
the most violent ones, are often set in foreign, Catholic countries. This is
not unlike the effect of distancing found in the pastoral mode or in the
Italian setting of many romantic comedies. It does not necessarily mean that
the English audience thought that such terrible things could never happen in
their own country. In part it was a way of avoiding censorship and in part it
stimulated an imaginative response by the exoticism of settings and customs.
Audi¡©ences were very alert to satiric intentions and hidden allusions.
Further Reading
The Cambridge Companion
to English Renaissance Drama, edited by A.R. Braunmuller and Michael
Hattaway. Cambridge University Press. 1990.
Renaissance Drama.
Introduction by Derek Traversi. Macmillan Great Writers Library. 1980.
Alexander Leggatt. English
Drama: Shakespeare to the Restoration, 1590 - 1660. Longman Literature in
English Series. 1988.
David Farley-Hills. Jacobean
Drama. Macmillan. 1988.