We passed the Cedars this morning, just exactly as Mary Davenant
was standing at the gate, wishing good-bye to Mister I forget his name.
Noticeable again, among the whole-plate portraits, is the thoroughly reassuring countenance of Steele, the singularly fine heads of John, Charles, and Fanny Kemble, while the certainly plain, pinched countenance of William Davenant
reminds one of Charles Kean, and might well have lighted up, as did his, when the soul came into it, into power and charm, as the speaking eyes assure us even in its repose.
Then she remembered Cecil Davenant
and his strange manner - the story which he was even now waiting to tell her.
That was written by William Davenant
150), a facile writer, Sir William Davenant
, had begun, cautiously, a few years before the Restoration, to produce operas and other works of dramatic nature; and the returning Court had brought from Paris a passion for the stage, which therefore offered the best and indeed the only field for remunerative literary effort.
, Dorset, and Suckling are quoted from inferior texts, Pepys is cited to Wheatley's outdated edition, and transcriptions of Marvell and Dryden are marred by a number of small errors.
They then focus on genres of Restoration drama, including heroic drama and tragicomedy, serious varieties, theater music, and Shakespeare and other adaptations, followed by a section on specific dramatists, such as William Davenant
, Thomas Shadwell, John Crown, Aphra Behn, and Susanna Centlivre.
Allison sees Hammond departing from the "classical Anglicanism" of Hooker, Davenant
, Andrewes, Hall, and Ussher, and tending toward Arminianism.
McKenzie writes, "with the exception of Jonson's 1616 folio, 'better' simply meant 'bigger' and the ideal of a dramatist's collected works was the typographical inflation and vulgar ornamentation of the Shakespeare, Beaumont and Fletcher, Cavendish, Davenant
and Cowley folios" (1976, 47).
Although Hutner's primary interest is in Restoration drama, particularly plays by John Dryden, William Davenant
, and Aphra Behn, the study begins with an examination of how early seventeenth-century plays that inscribe English colonialist ideologies elucidate Restoration playwrights' revisions and adaptations of colonialist metaphors of the New World.
After graduating at Cambridge, he entered upon a literary career, and succeeded Sir William Davenant
as poet-laureate in 1670.
And Hume, who in the present volume seems virtually a synonym or at least a synecdoche for things Scottish, also makes an appearance in the penultimate essay, by John Robertson, on the idea of universal monarchy, an old medieval notion that figures in Hume's critique of English whiggery from the cosmopolitan, enlightened, perspective found north of the border; but the essay's most interesting contribution is a discussion of the work of two other important writers of the time, Charles Davenant
and Andrew Fletcher, and their differing analyses of the perceived threat of a new universal monarchy.