With the first production of The Siege of Rhodes in 1656 came the birth of a new dramatic form in England, a heroic play which, more or less, has all the ingredients of the genre. Davenant dramatised a memorable historical event involving the Orient, an event which no one had attempted to represent on the stage before (and probably never afterwards). In fact, the historical battle for Rhodes with all the exotic Oriental details in Davenant's plot allowed him to introduce and explore vividly various theatrical techniques, such as the use of spectacular settings and of multiple and changeable scenery. Davenant revised the first version of his play, producing a second part in 1661; the two parts together were published in one edition in 1663. The play, which also has claims to being the first Opera on the English stage, marked the resumption of theatrical activity after the long closure of the theatres. 1he piay is, therefore, situated at a crucial turning point in the history ofEnglish drama. IV!oreover, The SiP.(JP nt Rhodes inaugurated a new attitude J - towards the Orient in Engiish dramatic tradition. Davenant's adaptation of a historical Oriental subject, i.e. the Turkish siege and conquest of Christian Rhodes, and of a heroic, romantic atmosphere, has attracted sorri'e critical commentary. In this paper, I am interested in Davenant's handling of the Oriental material available to him. I seek to throw light on his original and complex representation of the Orient in this first Restoration drama representing such an important historical event for both Christians and Turks.
Haitham Abdul Aziz Saab