238:"Aphra improved greatly on the original, and, in the first of the two plays she made from it, produced a masterpiece of light-hearted comedy, broad and outspoken, but not lacking in beauty of form and language. It was certainly one of the best plays of romantic intrigue written during the Restoration."
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Thomaso impresses his compatriots with his wardrobe and his wit. He carries on a sexual liaison with the famous courtesan
Angellica, and accepts gifts from her; she defends his conduct. Yet Thomaso also can maintain a more normal and morally and socially correct relationship with a woman when he
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The printed text divides the play into a Part 1 and Part 2 of five Acts each. Critics note, however, that Part 1 provides no dramatic denouement at its end, so that the work is, in effect, a single ten-Act work (a characteristic
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features abundant bawdy humour and sexual frankness, to the discomfiture of generations of traditional critics. Killigrew's heroine
Angellica speaks out for the emotional freedom of women, and Thomaso is an unblushing libertine.
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The production, meant for
November 1664, never materialised, perhaps due to the inherent dramaturgic limitations of Killigrew's expansive text. (Gwyn's stage debut had to wait another four months.)
203:; he belongs to a set of other Royalist exiles, some of them serving in the Spanish army. The two plays deliver a very episodic picture of his life and adventures, through ten Acts and 73 scenes.
105:(1676) that lambasted Killigrew with a sweeping personal attack. Flecknoe asserted that Killigrew was "born to discredit all the Professions he was of; Traveller, Courtier, Soldier, and Buffoon."
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is generally considered strongly autobiographical; it is no accident that the title is the
Spanish version of the playwright's given name. Like his earlier comedy
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was also in the cast. (The list assigns the 14-year-old "Nelly" the part of "Paulina, a courtesan of the first rank" — a role she would soon fill in real life.)
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The modern increase in critical attention to Behn and her works has meant an accompanying increase in attention to Behn's antecedents, including
Killigrew's
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A comic and farcical subplot centres on the character
Edwardo, who is a foolish pretender to the gentility and honour that Thomaso genuinely possesses.
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was never performed in the seventeenth century, and certainly not since; many critics regard it as unactable, and place it securely in the category of
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chooses, and as he does with the virtuous (and wealthy) Serulina. (The play never reconciles the two erotic modes.)
164:. Yet Killigrew once attempted to mount a production – and an extraordinary one. In October 1664, Killigrew's
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217:; verdicts like "rambling, long-winded" and "indulgent and inert" are common in the relevant literature.
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Critical responses to autobiographical works often confuse the author and the work. Theatrical rival
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Plays, Poems, and
Miscellaneous Writings Associated With George Villiers, Second Duke of Buckingham
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The
Restoration Rake-Hero: Transformations in Sexual Understanding in Seventeenth-Century England
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Playwrights and
Plagiarists in Early Modern England: Gender, Authorship, Literary Property
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is based on
Killigrew's personal experiences as a Royalist exile during the era of the
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Critics and commentators have not hesitated to point out the obvious faults in
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is dedicated to "the fair and kind friends to Prince Palatine Polixander."
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Dramatic Difference: Gender, Class, and Genre in Early Modern Closet Drama
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in his work, as when Angellica protests the "slavery" that women suffer.
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should not be misunderstood as any sort of artistic abuse or plagiarism.
176:. A cast list for the intended production survives; the leading actress
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Susan Carlson, "Cannibalizing and Carnivalizing: Reviving Aphra Behn's
172:. At the same time, Killigrew prepared a similar all-women staging of
29:
24:
is mid-seventeenth-century stage play, a two-part comedy written by
430:, and The Wanderer: Aphra Behn's Revision of Thomas Killigrew,"
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Thomaso is a young English gentleman living in Spain during the
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Aphra Behn was a friend and colleague of Killigrew; her use of
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Nancy Copeland, "'Once a whore and ever?' Whore and Virgin in
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have occasionally supplemented Behn's text with material from
287:, Lexington, KY, University Press of Kentucky, 1995; p. 281.
313:, Vol. 1, Oxford, Oxford University Press, 2007; pp. 17–18.
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Carlson, "Cannibalizing and Carnivalizing," pp. 520, 522.
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The Cambridge Introduction to English Theatre, 1660–1900
369:, Vol. 47 No. 4 (December 1995), pp. 517–39; see p. 519.
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gave an unprecedented all-female-cast production of his
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The First English Actresses: Woman and Drama, 1660–1700
300:, Cambridge, Cambridge University Press, 1992; p. 58.
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Behn's Willmore is her version of Killigrew/Thomaso.
40:, when he was abroad continuously from 1647 to 1660.
452:, Madison, WI, University of Wisconsin Press, 1986.
395:, Cambridge, Cambridge University Press, 2006; p. 7.
252:— though some also note the curious streak of proto-
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A History of Seventeenth-Century English Literature
121:, the collected edition of Killigrew's plays that
440:, Newark, DE, University of Delaware Press, 2002.
352:, New York, Pellegrini & Cudahy, 1952; p. 31.
46:is now best known as the foundation upon which
137:shares with the author's other double dramas,
446:, Ithaca, NY, Cornell University Press, 1996.
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89:that make of most of his dramatic output),
125:issued in 1664. In the collected edition,
339:, New York, Macmillan, 1926; pp. 130–1.
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180:was intended for the role of Angelica,
309:Robert D. Hume and Harold Love, eds.,
285:Winter Fruit: English Drama, 1642–1660
382:, New York, Black Rose, 1989; p. 123.
337:The Social Mode of Restoration Comedy
326:, New York, Grove Press, 2005; p. 73.
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53:The Rover, or the Banished Cavaliers
248:. Commentators deplore Killigrew's
184:was cast as Lucette, and beginner
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406:Royalist Women Writers, 1650–1689
408:, Oxford, Clarendon Press, 2004.
103:The Life of Thomaso the Wanderer
380:Aphra Behn, the English Sappho
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530:Plays set in the 17th century
324:Nell Gwyn: Mistress to a King
50:constructed her finest play,
426:Jones DeRitter, "The Gypsy,
64:Though Killigrew drew upon
28:, The work was composed in
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434:Vol. 10 (1986), pp. 82–92.
424:, London, Blackwell, 2007.
418:Vol. 16 (1992), pp. 20–27.
505:Plays by Thomas Killigrew
350:Nell Gwyn, Royal Mistress
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335:Kathleen M. Lynch,
322:Charles Beauclerk,
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