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The material in Act I provides a detailed view of a theatre manager interacting with actors, that throws light upon the theatrical conditions of
Davenant's day. The anthology's blend of serious and comic works has caused critics to wonder about authorial intent, and even authorial identity.
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wrote, "I know not under what
Species to place this Play, it consisting of several Pieces of different Kinds handsomely tackt together...." Davenant exploited the standard five-Act structure of drama in his era to link five separate short plays, both newly written and previously existent:
153:, was unlikely to have ridiculed it. His argument has in general not persuaded other critics. In the play itself, Davenant writes that "burlesque discovers laughter not in the objects of its hatred, but rather in the objects of its affections."
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Davenant's authorship of the material in Acts III and IV is not disputed. French scholar André de
Mandach attributed the rest of the work to Colonel Henry Howard. Henry Howard was one of four playwriting brothers; Sir
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has been called "the earliest burlesque dramatic piece in the
English language." Davenant's comedy had a direct influence on
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Act I provides an
Introduction to the items that follow, in which four troupes of actors audition to fill a vacant theatre;
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Plays, Poems, and
Miscellaneous Writings Associated with George Villiers, Second Duke of Buckingham
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André de
Mandach, "The First Translator of Molière: Sir William Davenant or Colonel Henry Howard,"
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Plays about the
Theatre in England from The Reheasral in 1671 to the Licensing Act in 1737
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is noteworthy for providing the first
English translation of a play by
264:, 2 Volumes, Oxford, Oxford University Press, 2007; Vol. 1, pp. 341-2.
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was in fact attributed to Col. Howard during the eighteenth century.
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Act V is the "Tragedy
Travestie," a burlesque of traditional
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Act II is a condensation of Molière's 1660 one-act play
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stage play, a dramatic anthology of short pieces by Sir
199:, New York, Columbia University Press, 1938; pp. 127-8.
225:, London, Oxford University Press, 1936; pp. 7 and ff.
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Mandach argues that Davenant, as a practitioner of
251:, Vol. 4, Edinburgh, William Paterson, 1873; p. 6.
75:, translated into French-accented broken English;
212:, London, 1691, pp. 99-100; quoted in Wilcox.
197:The Relation of Molière to Restoration Comedy
8:
238:, Vol. 66 No. 8 (December 1951), pp. 513-18.
57:Regarding this anthology, the early critic
249:The Dramatic Works of Sir William Davenant
210:An Account of the English Dramatick Poets
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142:, and James Howard being his siblings.
41:collected edition of Davenant's works.
260:Robert D. Hume and Harold Love, eds.,
247:James Maidment and W. H, Logan, eds.,
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316:Cultural depictions of Francis Drake
311:Depictions of Julius Caesar in plays
98:The Cruelty of the Spaniards in Peru
306:Depictions of Mark Antony in plays
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301:Depictions of Cleopatra in plays
85:The History of Sir Francis Drake
321:Plays based on works by Molière
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326:Plays set in the 17th century
91:Act IV is Davenant's similar
37:, and first published in the
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296:Plays by William Davenant
281:English Restoration plays
29:that was acted in August
161:The playlet in Act V of
221:Dane Fransworth Smith,
179:and his collaborators.
163:The Playhouse to Be Let
144:The Playhouse to Be Let
43:The Playhouse to Be Let
18:The Playhouse to be Let
78:Act III is Davenant's
236:Modern Language Notes
35:Lincoln's Inn Fields
82:"operatic tableau"
286:Restoration comedy
208:Gerard Langbaine,
177:Duke of Buckingham
33:at the theatre at
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53:Form and content
27:William Davenant
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168:The Rehearsal
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140:Edward Howard
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136:Robert Howard
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151:heroic drama
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114:Marc Antony
23:Restoration
291:1663 plays
275:Categories
183:References
129:Authorship
72:Sganarelle
157:Influence
118:Cleopatra
106:tragedy
47:Molière
116:, and
95:work
21:is a
173:1671
93:1658
80:1659
39:1673
31:1663
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