When Thomas Otway’s Don Carlos was performed at Dorset Garden Theatre in June 1676, early Restoration rhymed heroic plays were almost out of fashion. In the Prologue to Aureng-Zebe (1675), John Dryden declared he had grown “weary of his long-lov’d Mistris, Rhyme” (Dryden 1995, Prologue 8), yet Otway’s second stage effort – written in heroic couplets – triumphed and repaid its author for the failure of his abortive first tragedy, Alcibiades, which had been unsympathetically received one year earlier. John Downes records that Otway’s new play “lasted successively 10 days” and “got more money that any preceding Modern Tragedy” (Downes 1987, 36).
"Thomas Otway: Don Carlos"
CALVI, Lisanna
2012-01-01
Abstract
When Thomas Otway’s Don Carlos was performed at Dorset Garden Theatre in June 1676, early Restoration rhymed heroic plays were almost out of fashion. In the Prologue to Aureng-Zebe (1675), John Dryden declared he had grown “weary of his long-lov’d Mistris, Rhyme” (Dryden 1995, Prologue 8), yet Otway’s second stage effort – written in heroic couplets – triumphed and repaid its author for the failure of his abortive first tragedy, Alcibiades, which had been unsympathetically received one year earlier. John Downes records that Otway’s new play “lasted successively 10 days” and “got more money that any preceding Modern Tragedy” (Downes 1987, 36).
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