William Cartwright
Explore the life, career, and writings of William Cartwright (1611–1643), the English dramatist, poet, and clergyman. Discover his plays, his place among the “Sons of Ben,” and his enduring influence.
Introduction
William Cartwright (1 September 1611 – 29 November 1643) was a 17th-century English poet, dramatist, and churchman. Although his life was relatively short, he made a mark in the literary and ecclesiastical worlds of early modern England. He is especially remembered for his plays, his occasional poetry, and his connections to courtly and university culture. Over time, his dramatic works have been critiqued as overly artificial, but his poetic voice and his role in the circle of royalist writers have preserved interest in his legacy.
Early Life and Family
William Cartwright was born in Northway, Gloucestershire on 1 September 1611.
Cartwright received schooling at the free school of Cirencester and then Westminster School. These foundations prepared him for university entry and for engagement in literary and ecclesiastical life.
Youth and Education
Cartwright matriculated at Christ Church, Oxford on 24 February 1632 (aged 20) and swiftly earned his Bachelor of Arts (5 June 1632) and then Master of Arts (15 April 1635).
His poetic talents were evident early—Cartwright composed poems in Latin and English, often in honor of royal occasions, birthdays, or to celebrate members of the court.
Career and Achievements
Literary & Dramatic Works
Cartwright’s reputation in his lifetime rested heavily on his plays and poems. greatest dramatic success was The Royal Slave (1636), a tragi-comedy performed before King Charles I and Queen Henrietta Maria at Christ Church, with scenery by the famed architect Inigo Jones and music by his collaborator Henry Lawes.
Beyond The Royal Slave, Cartwright wrote several other plays:
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The Lady Errant (acted mid-1630s, printed 1651)
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The Siege, or Love’s Convert (printed 1651)
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The Ordinary (c. 1635?) — a comedy of “real life” imitating Ben Jonson, depicting tavern society and lower classes
However, with the exception of The Ordinary, his plays tend toward the “far-fetched in plot, and stilted and artificial in treatment” according to contemporary and later critics. The Ordinary as his most real attempt at Jonsonian comedy, though still derivative.
Cartwright’s poetry was collected posthumously in Comedies, Tragi-Comedies, With Other Poems (London, 1651) by Humphrey Moseley.
Ecclesiastical & Academic Life
Cartwright took holy orders in 1638. reader in metaphysics at Oxford, and he was reputed as “the most florid and seraphical preacher in the university” per Wood’s account.
During the more turbulent years of the late 1630s and early 1640s, Cartwright also became succentor of Salisbury Cathedral in 1642, and in 1643 he was appointed junior proctor at Oxford.
In the context of the English Civil War, he was involved in the university war council at Oxford (1642) and served as one of its members.
Death & Commemoration
William Cartwright died on 29 November 1643 in Oxford of camp fever (epidemic typhus) at the age of 32. King Charles I wore mourning on the day of his funeral, as a mark of respect. Christ Church Cathedral, Oxford.
Historical & Literary Context
Cartwright thrived in a moment when the Elizabethan and Jacobean theatrical traditions were giving way to new forms, and the politics of the monarchy and the coming Civil War heavily impinged on literary life. His work sits at the intersection of courtly drama, academic theatre, and religious culture.
He is often associated with the “Sons of Ben”, a term for writers influenced by Ben Jonson’s style and ideals. The Ordinary is his most direct engagement with Jonsonian comedy.
The theatrical production of The Royal Slave was a multi-sensory spectacle, involving music (by Lawes), scenery (by Inigo Jones), costumes, and royal patronage—reflecting how courtly drama of that era often integrated visual, musical, and dramaturgical elements.
During the Civil War, Oxford was a Royalist stronghold, and the war upheaval affected performance, patronage, and university life. Cartwright’s involvement in Oxford’s war council shows how literary figures often had to navigate political as well as artistic commitments.
His posthumous publication (1651) of his works amid the Interregnum (when the monarchy was abolished) speaks to the continued loyalty of royalist literary circles to the memory of writers associated with the crown and university life.
Legacy and Influence
Cartwright’s dramatic works, while not often staged today, provide a window into university drama and the interplay of politics, religion, and performance in early 17th-century England.
His poetry, especially in the posthumous collection, maintained interest among later scholars of Cavalier and royalist verse.
Critics typically view his plays as “artificial” and derivative, yet they still hold curiosity value for students of the era.
Furthermore, Cartwright is often cited as a sympathetic figure among royalist writers whose careers were truncated by the turmoil of civil war. His early death and the subsequent decline in interest in his plays place him among many “lost voices” of that turbulent time, though modern scholarship has revived aspects of his verse and performance history.
Personality, Style & Strengths
Cartwright’s style is often described as florid and elaborate—especially in his sermons, poetry, and occasional panegyrics.
In drama, he pursued spectacle, combining music, scenery, and costume, and often favoring tragicomedy or courtly dramatics rather than plain realism. occasional, panegyric character—celebrating royalty, births, courts, and religious themes.
Critically, his plots are generally weak or overly contrived, and his dramatic characters less deeply drawn than those of more enduring dramatists. That said, his ambition, erudition, and connections to courtly and musical culture mark him as a notable figure of his age.
Selected Works & (Some) Quotes
Notable Works
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The Royal Slave (1636) — his signature tragi-comedy staged for the royal court.
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The Lady Errant (acted mid-1630s, printed 1651)
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The Siege, or Love’s Convert (printed 1651)
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The Ordinary (c. 1635?) — a more grounded comedy of daily life
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Comedies, Tragi-Comedies, With Other Poems (1651, posthumous collection)
Sample Quotes / Excerpts
Here are a few lines attributed to Cartwright (mainly from his poetic work):
“There are two births: the one when light, / First strikes the new awakened sense; / The other when two souls unite, / And we must count our life from thence, / When you loved me and I loved you, / Then both of us were born anew.”
“The fool inherits, but the wise must get.”
“Love makes those young whom age doth chill, / and whom he finds young keeps young still.”
“Tell me not of joy: there’s none / Now my little sparrow’s gone; / He … would toy and woo …”
Note: Because much of Cartwright’s poetry circulates in manuscript or posthumous collections, sometimes the textual attributions and versions vary.
Lessons & Reflections
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Art and Politics Are Entwined
Cartwright’s career shows how literary ambition in 17th-century England was inseparable from royal patronage, court culture, and political upheaval. His works aimed for court performance and royal favor, and his life was shaped by the Civil War’s disruptions. -
Ambition vs. Endurance
Though talented and ambitious, Cartwright died young, and his dramatic works did not stand the test of time as some contemporaries’ did. This reminds us that longevity in art often depends on depth, adaptability, and sometimes luck. -
Theater as Multidisciplinary Art
The Royal Slave’s incorporation of music, design, and scenic effect reveals how early modern theatre was a synthesis of arts. Cartwright’s collaboration with Lawes and Jones shows the importance of partnership and the arts’ interdependence. -
Occasional Poetry as Cultural Record
Cartwright’s poems commemorating royal events, birthdays, or religious occasions offer insight into the social, political, and cultural values of the era. They preserved voices of loyalty, flattery, and courtly identity. -
Scholarship Revives Hidden Voices
Modern editors and scholars have re-evaluated Cartwright’s output, especially his poems and songs, reminding us that lesser-known authors may still offer insight into their periods and alternative aesthetic forms.
Conclusion
William Cartwright’s life may have been brief, but it was densely connected to the literary, academic, and courtly networks of early 17th-century England. His drama, though often critiqued for its artificiality, stands as a marker of academic and court performance. His poetry, particularly in relation to Henry Lawes’s musical settings, carries enduring interest. In the broader sweep of English letters, Cartwright reminds us that many writers served not as canonical giants, but as bridges—between universities and courts, between poetry and music, between loyalty and art.
If you wish, I could also prepare a more detailed analysis of The Royal Slave, or a comparative study between Cartwright and other “Sons of Ben.” Do you want me to do that?