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 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
