Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: CHAPTER III THE BEGINNINGS OF RESTORATION DRAMA AND OPERA The formal opening of the period of modern English drama may be dated from the issuing by Charles II, on 21 August, 1660, of letters patent conferring upon Thomas Killigrew and Sir William D'Avenant the right to 'erect' two companies of players. The advent of Charles II to the throne meant the restoration of drama, as well as of monarchy. The grant of 21 August was of large significance. It restored to English drama, with the seal of royal authority, rights and privileges of which it has never subsequently been deprived. Yet the act that thus conferred larger liberty upon the drama marks, in fact, the creation of a theatrical monopoly from whose shackles the London stage was not wholly freed for almost three centuries. For the moment, however, it was enough that the ban on English drama was formally lifted. The way, indeed, had already been opened for the resumption of theatrical activity. D'Avenant's productions at Rutland House had been followed by the performances of his operas, in 1658 and 1659, on the public stage at the Cockpit Theatre, in Drury Lane. In early February, 1660, General Monck entered London, and soon afterward a license foracting was given to John Rhodes, a London bookseller, said to have been previously connected with the Blackfriars Theatre as wardrobe-keeper. Before the issue of the patent of 21 August, three companies of actors had begun to be assembled — at the Cockpit, at the Red Bull, and at Salisbury Court, in White- friars. The royal grant to Killigrew and D'Avenant, accordingly, aroused some dissensions. Sir Henry Herbert, standing on his dignity as Master of the Revels, protested to the King against this 'unjust surprize' which disregarded his authority, and sought to discredit D'...