Sir William Davenant (1606-1668) stands as one of the most intriguing figures in seventeenth-century English literature, bridging the theatrical worlds of the Caroline court and the Restoration stage. Born in Oxford, where his father was a vintner and proprietor of the Crown Tavern, Davenant's early life was steeped in literary connections. A persistent, though likely apocryphal, rumor suggested that he was William Shakespeare's godson, and possibly his illegitimate son – a notion Davenant himself did little to discourage, understanding its value for his theatrical career.
Educated at Oxford Grammar School, Davenant displayed early literary inclinations, though he never attended university. His entry into court circles came through service to the Duchess of Richmond and later to Lord Brooke. By the late 1620s, he had begun writing plays and masques, quickly establishing himself as a court favorite. His first play, "The Cruel Brother" (1627), demonstrated his dramatic capabilities, but it was "The Just Italian" (1630) that secured his reputation among London's theatrical elite.
Davenant's appointment as Poet Laureate in 1638, succeeding Ben Jonson, marked the apex of his pre-Civil War career. This appointment reflected not only his poetic accomplishments but also his careful cultivation of court relationships. His major epic poem, "Gondibert," though never completed, represents one of the period's most ambitious attempts to reimagine heroic poetry, incorporating contemporary philosophical and scientific thought into its complex narrative structure.
The English Civil War proved a pivotal period in Davenant's life. His royalist sympathies led to his appointment as Lieutenant General of Ordnance for the King's forces in the North. Captured and imprisoned in 1641, he later escaped to France, where he served Queen Henrietta Maria in exile. During this period, he embraced Catholicism and continued to write, working on "Gondibert" and developing his ideas about theatrical reform.
Perhaps the most dramatic episode in Davenant's life occurred in 1650 when, while attempting to sail to Virginia, he was captured by Parliamentary forces. Imprisoned in the Tower of London and facing possible execution, he was reportedly saved through the intervention of John Milton. This remarkable instance of literary fraternity transcending political divisions speaks to Davenant's personal charm and his respected position within England's literary community.
The Restoration of Charles II in 1660 inaugurated the most significant phase of Davenant's theatrical career. Having secured one of only two patents for operating a theater company in London, he effectively reinvented English theatrical practice. His Duke's Company introduced several innovations that would define Restoration theater: the use of painted scenes, the employment of women actors, and the development of a more naturalistic acting style. His adaptations of Shakespeare's plays, though considered sacrilegious by some modern critics, helped preserve Shakespeare's works for Restoration audiences while reflecting contemporary theatrical tastes.
Davenant's literary output was remarkably diverse. Beyond his numerous plays and masques, he produced poems, translations, and theoretical works on dramatic practice. His "Preface to Gondibert" (1650) represents one of the period's most sophisticated discussions of poetic theory, advocating for reason and moral philosophy in heroic poetry. His adaptation of "The Tempest" (with John Dryden) and "Macbeth" demonstrated both his reverence for earlier dramatic traditions and his understanding of contemporary theatrical demands.
In his final years, despite suffering from syphilis that had destroyed his nose (leading to his wearing a silver replacement), Davenant remained active in theater management and playwriting. His last major work, "The Man's the Master" (1668), displayed his continuing ability to adapt French dramatic models for English audiences.
Davenant's historical significance extends beyond his individual works. He served as a crucial link between pre-Civil War and Restoration culture, preserving theatrical traditions while adapting them to new circumstances. His influence on the development of English opera, his innovations in theatrical staging, and his role in establishing women on the English stage mark him as a pivotal figure in theater history.
Modern scholarship has increasingly recognized Davenant's importance not just as a transitional figure but as a significant writer in his own right. His experimental approach to genre, his engagement with philosophical and scientific ideas, and his practical innovations in theatrical production reveal a complex artist responding creatively to a period of enormous cultural change. Through war, exile, imprisonment, and restoration, Davenant maintained an adaptive creativity that helped reshape English theatrical culture.