Nathaniel Lee, a figure shrouded in mystery, left an indelible mark on the world of English playwriting. Born in 1653, he overcame personal struggles to produce works that resonated well into the eighteenth century. Despite the challenges he faced throughout his life, Lee's dramatic flair and unique voice earned him a notable place in literary history.

Early Life and Education

The early years of Nathaniel Lee's life remain largely undocumented. Born to Richard and Elizabeth Lee around 1653, he was one of six surviving sons. His father, a minister deeply involved in the religious and political issues of the era, prioritized the intellectual growth of his children. Richard Lee's commitment to education was evident, as he sent five of his sons to either Oxford or Cambridge University. To prepare for this academic journey, Nathaniel attended the Charterhouse School, eventually earning his Bachelor of Arts degree from Trinity College, Cambridge, in 1668-1669.

Transition to the Stage

As the 1670s dawned, Lee transitioned from academia to the stage, embarking on a brief acting career. He played roles such as the Captain of the Watch in Nevil Payne’s Fatal Jealousie (performed in 1672) and Duncan in a revival of Sir William Davenant’s Macbeth (originally staged in 1663). Despite possessing striking looks and a commanding voice, Lee struggled with stage fright. This challenge led him to step away from acting and pursue a path in playwriting instead.

Early Playwriting Endeavors

Lee's initial foray into playwriting, The Tragedy of Nero, Emperor of Rome, did not achieve the success he had hoped for. However, he soon found his footing with subsequent works. His play Sophonisba was met with acclaim, marking his first major success. Although Gloriana did not fare well, Lee's resilience paid off with The Rival Queens, which captivated audiences and maintained its popularity into the next century.

Peak of Success

In the years following, Lee enjoyed a series of successful productions. His works Oedipus, Theodosius, and Mithridates, King of Pontus were well-received, securing his reputation as a leading dramatist of his time. Lee's ability to weave compelling narratives and create vivid characters resonated with theatergoers, cementing his status in the theatrical world.

Tragic Decline

Despite his achievements, Lee's later years were marred by personal difficulties. His final trio of plays failed to achieve the same level of success as Theodosius. On November 11, 1684, he was admitted to the infamous Bethlehem Royal Hospital, commonly known as Bedlam, for mental health issues described as "distraction." The exact causes of Lee's condition remain uncertain, but it is speculated that heavy drinking and a volatile temperament may have contributed.

Life in Bedlam and After

During his four-year confinement in Bedlam, Lee's living conditions were harsh, and he faced significant challenges. It is possible that financial difficulties added to the strain, exacerbating his mental health issues. There is little evidence to suggest that Lee wrote any plays during his time in Bedlam or after his release in 1688. However, he did produce some poetry, reflecting his enduring creative spirit. Following his discharge, Lee settled on Duke Street, but his life came to a tragic end when he was found dead on the street in the spring of 1692. He was laid to rest on May 6, 1692, in an unmarked grave, leaving behind a legacy defined by both brilliance and tragedy.