John Dryden

Dryden's audiences in 1671, both aristocratic and middle-class, would have been quick to respond to the themes of disputed royal succession, Francophilia and loyalty among subjects in his most successful tragicomedy. In the tragic plot, written in verse, young Leonidas has to struggle to assert his place as the rightful heir to the throne of Sicily and to the hand of the usurper's daughter. In the comic plot, written in prose, two fashionable couples (much more at home in London drawing-rooms than at the Sicilian court) play at switching partners in the 'modern' style. The introduction of this edition argues that Dryden's own ambivalence about King Charles and his entourage, on whom he came to rely more on more for patronage, manifests itself in both plots; most of all perhaps in the excessively Francophile Melantha, whose affectation cannot quite hide her endearing joie-de-vivre.

A new and comprehensive selection of Dryden's poetry, revealing him as a master of theatricality, ventriloquism, and unmistakable originality. Brought together here are many of the poems from his time as Poet Laureate and loyal servant of the crown, including the Biblical allegory 'Absalom and Achitophel', in which the poet attacked those who intrigued against the King and earned himself a reputation for menace and a number of powerful enemies. His 'Works of Virgil' set the standard for the translation of Latin poetry. His last work, 'Fables Ancient and Modern' combined original verse and new translations, showing how he transformed the idioms and gestures of other voices and made them his own.

Drama Classics: The World's Great Plays at a Great Little Price Dryden's 1677 play All for Love is a version of the Antony and Cleopatra story, told as a heroic tragedy. Antony and Octavius Caesar are struggling for control of what was to become the Roman Empire. Antony and Cleopatra, Queen of Egypt, are lovers and political allies, but their forces have been defeated at the battle of Actium. The play is set in Alexandria, under siege by Octavius Caesar. This edition in the Nick Hern Books Drama Classics series is edited and introduced by Trevor R. Griffiths.

In the last decade of Dryden's life, he brought four new works before the theatre-going public: a dramatic opera, a tragedy, a tragicomedy, and a number of appendages to an old comedy by John Fletcher, which was revived partly so that Dryden might have the author's third-night profits. He died that night, but his family received the money. The dramatic opera, King Arthur, benefited from a fine score by Henry Purcell and has remained in the operatic repertoire to this day. Cleomenes, the tragedy, was banned until Dryden was able to convince Queen Mary that it did not reflect any seditious sympathy with the exiled James II, after which it was successful. The fate of Love Triumphant, the tragicomedy, was different; possibly because of a growing swell of moral reform, the play was universally damned, even though its themes of incest and miscellaneous fornication had never brought rejection to Dryden in the past. The Secular Masque, Dryden's principal contribution to The Pilgrim by Fletcher, had undistinguished music, but its lively verse and broad review of the previous century kept the piece on the stage for the next fifty years, and in anthologies up to the present.

The three plays in this volume, composed between 1672 or 1673 and 1675, demonstrate Dryden's versatility and inventiveness as a dramatist. "Amboyna", a tragedy written to stir the English to prosecute the Third Dutch War, describes the destruction by the Dutch of English trading posts on two Indonesian islands. Regarded in its time as sensationalist, it is really a dignified drama that decries violence. "The State of Innocence", termed an opera, is a rhymed version of Milton's "Paradise Lost". Though never performed or set to music, it became one of Dryden's most widely read dramas. "Aureng-Zebe", the last and generally considered the best of Dryden's rhymed heroic plays, portrays the rise to power of Mogul emperor Aureng-Zebe (1618-1707).

For the first time since 1695, a complete text of De Arte Graphica as Dryden himself wrote it is available to readers. In all, Volume XX presents six pieces written during Dryden's final decade, each of them either requested by a friend or commissioned by a publisher. Two are translations, three introduce translations made by others, and the sixth introduces an original work by one of Dryden's friends. The most recent version of De Arte Graphica, Saintsbury's late nineteenth-century reissue of Scott's edition, based the text of the translated matter on an edition that was heavily revised by someone other than Dryden. In fact, only one of the pieces offered here, the brief Character of Saint-Evremond, has appeared complete in a twentieth-century edition. The commentary in this volume supplies biographical and bibliographical contexts for these pieces and draws attention to the views on history and historians, poetry and painting, Virgil and translation, which Dryden expresses in them. Many other volumes of prose, poetry, and plays are available in the California Edition of The Works of John Dryden.

Whether for love or ambition, for parental approval or reasons of state, marriage has complicated the lives of all who enter into it. First performed in 1671, Dryden's Marriage à la Mode portrays the motives high and low that make marriage the pivotal institution of a nation. Like Dryden's best tragicomedies, Marriage à la Mode has a double plot. The hopes that marriage excites and the regrets it suffers, the possibilities it opens and the opportunities it denies, its potential nobility and its vulnerability to decay provided Dryden with plentiful dramatic material. Comedy and pathos intersect in plots that entangle and surprise like marriage itself.

Although John Dryden the poet is best known for his alexandrine epics, John Dryden the playwright is most honored for this blank verse tragedy. The summit of Dryden's dramatic art, All for Love (1677) is a spectacle of passion as felt, feared, and disputed in the suspicious years following the English Civil War. Due to its dramatic compression and elegance, All for Love is one of the most enduring plays of the Restoration repertory. It was so successful that in the eighteenth century Dryden's tragedy drove Shakespeare's Antony and Cleopatra from the stage. The play depicts the catastrophic passion of Cleopatra and Marc Antony, who could not be conquered but by love. Fidelity to family and friends, adherence to codes of honor, national loyalties, and the rule of law compete with each other, tearing the world with violence.

Aureng-Zebe was John Dryden's last rhymed play and it is frequently considered his best. In this tragedy, produced in 1675, published in 1676, the plot is loosely based on a contemporary account of the struggle between the four sons of Shah Jahan, the fifth Mogul emperor, for the succession to the throne. The hero is a figure of exemplary rationality, virtue, and patience whose stepmother lusts after him and whose father pursues the woman with whom Aureng-Zebe is himself in love. Dryden evinces a deeply disturbing awareness of the anarchy and impotence which threaten every aspect of human life, emotional, moral, and political.