Caroline and Cavalier Theatre

SIR WILLIAM DAVENANT  ( 1605-1668)

_____. The Wits. Comedy. c. 1633.
_____. Love and Honour. Heroic play. 1634, pub. 1649.  Revived 1661.
_____. News from Plymouth. Comedy . 1635.
_____. The Temple of Love. Masque. Premiere performed by Queen Henrietta Maria and her ladies. 1635.
_____. Britannia Triumphans. Masque. 1638.
_____. Salmacida Spolia. Masque. 1640.
_____. Gondibert. Epic poem. 1650.
_____. The First Day’s Entertainment at Rutland House. Operatic poem. 1656.
_____. The Siege of Rhodes. Operatic drama in two parts. Part 1 performed 1656, 1657.
_____. The Cruelty of the Spaniards in Peru. Operatic drama. 1658.
_____. The History of Sir Francis Drake. Operatic drama. 1659.
_____. The Law Against Lovers. Drama.1662. (Based on Shakespeare’s Measure for Measure and Much Ado About Nothing).
_____. Macbeth. Operatic adaptation. 1673.
_____. Playhouse to Be Let. Adapted from Molière.

Davenant, William, and John Dryden. The Tempest or The Enchanted Island.  Operatic adaptation of Shakespeare’s work. 1667.

Davenant was a Royalist poet, dramatist and dramatic producer; the son of an Oxford tavern-keeper, godson and self-reputed illegitimate son of Shakespeare; st. All Saints grammar school, Oxford, and Lincoln College, page to Frances Duchess of Richmond, patronized by Fulke Greville, Lord Brooke, court dramatist and poet, laureate at the Queen’s wish 1638, named governor of the King’s and Queen’s players at Drury Lane 1639; Cavalier activist, imprisoned by Parliamentarians, escape to France, lieutenant-general in the Earl of Newcastle’s army, knighted 1643 for service at the siege of Gloucester, emissary between the King and Queen, l. Paris, Louvre, projected colonist, imprisoned at Wight and the Tower of London, seemingly protected by Milton, later repaid favour, released, organiser of musical dramatic events, Theatre at Rutland House, Charterhouse Yard, 1656-, reviver of drama after Puritan interruption; licensed impresario after Restoration with the Duke’s Company, died insolvent, buried at Westminster Abbey.


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NIVEL AVANZADO:

"Sir William Davenant and Adapting Shakespeare, Restoration-style." 

         http://theshakespeareblog.com/2013/05/sir-john-davenant-and-adapting-shakespeare-restoration-style/

         2019
 

La mascarada
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THOMAS KILLIGREW     (1611-1684)


_____. The Parson's Wedding. Comedy. Written Basle, ante 1640, rev. c. 1663. In Killigrew's 1664 folio. In Hazzlitt's Dodsley.
_____. The Prisoners. Tragicomedy. 1641. In Killigrew's 1664 folio.
_____. Claracilla. Tragicomedy. Written at Rome, 1641. In Killigrew's 1664 folio.
_____. The Princess; or, Love at First Sight. Tragicomedy. Written at Naples. In Killigrew's 1664 folio.
_____. The Pilgrim. Tragedy. Written at Paris. In Killigrew's 1664 folio.
_____. Cecilia and Clorinda; or, Love in Arms. Tragicomedy. 1st part written at Turin, 2nd part written at Florence. In Killigrew's 1664 folio.
_____. Don Thomaso, or The Wanderer.  Comedy in 2 parts. Written at Madrid. 1664. In Killigrew's 1664 folio.
_____. Bellamira, her Dream; or, The Love of Shadows. Tragicomedy. Written at Venice. In Killigrew's 1664 folio.
_____. (Plays, folio). 1664.


Thomas Killigrew, son of Sir Robert Killegrew, b. Hanworth Middlesex: courtier, page to Charles I, exile with Charles II, socialite and wit, collected funds for the exiled court among Royalists; m. Cecilia Crofts; master of Revels and groom of the bedchamber after the Restoration; said to be "jester" to the King, leader of the King's Company at Drury Lane Theatre.




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JAMES SHIRLEY  (1596-1666)


_____. The Traitor.  Tragedy. 1631.
_____. The Ball. Drama. 1632. (With George Chapman).
_____. Hyde Park. Comedy. 1632.
_____. The Gamester. Comedy. 1633.
_____. The Bird in a Cage. Drama. 1632-3.
_____. The Example. Drama. 1634.
_____. The Triumph of Peace. Masque. Performed Gray’s Inn 1634.
_____. The Lady of Pleasure. Comedy. 1635.
_____. St. Patrick for Ireland.  1640. 
_____. The Cardinal. Tragedy. 1641.
_____. Cupid and Death. Masque. Performed at London, 1653, 1659.
_____. Honoria and Mammon. Pub. 1659.
_____. Assistant to Ogilby in his trans. of Homer’s Iliads and Odysses.


James Shirley, English dramatist, b. London; st. Oxford and Cambridge; curate at Hertfordshire; teacher at St. Alban’s grammar school, turned Catholic 1624; then London, playwright for Cockpit theatre; 1630s l. at Gray’s Inn, servant to Queen Henrietta Maria; twice married, several children; 1637 playwright in Dublin, Royalist soldier and assistant to the Duke of Newcastle during Civil Wars; teacher at Whitefriars during the Commonwealth; well off but ruined in Great Fire, died then.




Other plays

Philip Massinger, A New Way to Pay Old Debts. 1625.
_____. The City Madam. 1632.

John Ford, 'Tis Pity She's a Whore. 1632.

John Kirke, The Seven Champions of Christendom.  c. 1638.

Walter Montague. The Shepherd's Paradise. 1632.

Duke of Newcastle. The Variety. 1641.

Richard Overton, Canterbury His Change of Diet. 1641.

Richard Brome, A Jovial Crew. 1641.
______. The Antipodes. 1638.

Against drama:

Prynne, William. Histrio-Mastix, The Players' Scourge. 1633.


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Aquí una canción de Edmund Waller que recordaréis de la asignatura de historia literaria. Los Cavaliers con frecuencia se preciaban de saber componer, tocar y cantar canciones, una forma de teatralizar sus sentimientos y su papel como caballeros renacentistas en el mundo competitivo de la Corte y de la aristocracia.




Go, lovely Rose!

Tell her, that wastes her time and me,

That now she knows

When I resemble her to thee,

How sweet and fair she seems to be.



Tell her that's young

And shuns to have her graces spied,

That hadst thou sprung

In deserts, where no men abide,

Thou must have uncommended died.



Small is the worth

Of beauty from the light retired:

Bid her come forth,

Suffer herself to be desired,

And not blush to be so admired.



Then die! that she

The common fate of all things rare

May read in thee:

How small a part of time they share

That are so wondrous sweet and fair!


Existe la música de la canción, de Henry Lawes, uno de los mejores compositores de la época carolina.



También puso música Henry Lawes a las canciones de Carew, y a las masques de Milton.
 

También puso música Henry Lawes a las canciones de Carew, y a las masques de Milton.
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