A Study of Mark Antony's Downfall in John Dryden's All for Love
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
THE TEMPLE PLUTARCH Rdlted by WHD ROUSE M
THE TEMPLE PLUTARCH Rdlted by W. H. D. ROUSE M_ PLUTARCH'S LIVES '_ EI_3USHED BY 51R THOMAS NORTH INTEN VOLUMES VOI...TEN THE LIVES OF THE, NOBLE GREEKS AND ROMANS The most of them comparedtogether by that grave learned Philosopher and Historio- grapher Plutarch of Ch_ronea THE LIFE OF ARATUS Ca_tsx'_s the Philosopher (my friend Polycrates) A proverb being afraid as it seemeth of the evil sound of an corrected ancient proverb,not rightly as it was spoken, and in use, but as he thought it best, he wrote in this manner: What childrendo theirancestorscommend, But thosewhomfortunefavoursto the end? But Dionysodorus Trcezenian reproving him, doth rehearsethe proverbrightly as indeed it is : Whatchildrendo theirancestorscommend, Butthosewhoselifeis vertuousto the end? Saying,that this proverb stoppeth their mouthswho of themselves are unworthy of praise, and yet are still boning of the vertaes of their ancestors, whose praisethey highly extol. But beforethose that (as Pindarulsaith) : Domatchtheirnobleancestorsin prowessoftheirown, Andby theirfruits comme_athed stockwhencethey themsd,resaregrown. x A PLUTARCH'S LIVES The corn- (As thy self that conformest thy life unto the monweal examples and manners of thy vertuous ancestors:) of the it is no small good hap for them, often to remem- Sicy.oa- 1_n$ ber the noble deeds of their parents in hearing them spoken of, or otherwise for themselves oftentimes to remember some notable doings of their parents. For in them, it is not for lack of commendable vertues, that they report others' praise and glory : but in joining their own vertaes, to the vertues of their ancestors, they do increase their glory, as inheriting their vertuous life, a8 challenging their descent by blood. -
John Dryden and the Late 17Th Century Dramatic Experience Lecture 16 (C) by Asher Ashkar Gohar 1 Credit Hr
JOHN DRYDEN AND THE LATE 17TH CENTURY DRAMATIC EXPERIENCE LECTURE 16 (C) BY ASHER ASHKAR GOHAR 1 CREDIT HR. JOHN DRYDEN (1631 – 1700) HIS LIFE: John Dryden was an English poet, literary critic, translator, and playwright who was made England's first Poet Laureate in 1668. He is seen as dominating the literary life of Restoration England to such a point that the period came to be known in literary circles as the “Age of Dryden”. The son of a country gentleman, Dryden grew up in the country. When he was 11 years old the Civil War broke out. Both his father’s and mother’s families sided with Parliament against the king, but Dryden’s own sympathies in his youth are unknown. About 1644 Dryden was admitted to Westminster School, where he received a predominantly classical education under the celebrated Richard Busby. His easy and lifelong familiarity with classical literature begun at Westminster later resulted in idiomatic English translations. In 1650 he entered Trinity College, Cambridge, where he took his B.A. degree in 1654. What Dryden did between leaving the university in 1654 and the Restoration of Charles II in 1660 is not known with certainty. In 1659 his contribution to a memorial volume for Oliver Cromwell marked him as a poet worth watching. His “heroic stanzas” were mature, considered, sonorous, and sprinkled with those classical and scientific allusions that characterized his later verse. This kind of public poetry was always one of the things Dryden did best. On December 1, 1663, he married Elizabeth Howard, the youngest daughter of Thomas Howard, 1st earl of Berkshire. -
Julius Caesar by William Shakespeare Ebook
JULIUS CAESAR BY WILLIAM SHAKESPEARE PDF, EPUB, EBOOK Sparknotes | 96 pages | 04 Feb 2014 | Spark Notes | 9781411469594 | English | United States Julius Caesar by William Shakespeare PDF Book To see what your friends thought of this book, please sign up. Human history in Julius Caesar seems to follow a pattern of rise and fall, in a way that is cyclical rather than divinely purposeful. Certainly, with more experience with Shakespeare, the Classics, and politics and the original JC. Shelves: getting-to-know-shakespeare , read-in Article Contents. A word, Lucilius; How he received you, let me be resolved. Houppert acknowledges that some critics have tried to cast Caesar as the protagonist, but that ultimately Brutus is the driving force in the play and is therefore the tragic hero. The only factor weighing on the other side is personal ambition, which Macbeth understands to be a moral failing. Second Commoner Truly, sir, to wear out their shoes, to get myself into more work. Buy Now on BN. However this period was coming to an end because it was quite obvious that Elizabeth was getting old and no successor had been named. This was not a case of assassination like what happened to John F Kennedy, where he was assassinated by a lone gunman if that is what you believe , but rather it would be like Barrack Obama walking into Congress and all of the Republican representatives drawing guns and proceeding to shoot him. As proper men as ever trod upon neat's leather have gone upon my handiwork. Instead returns as a ghost and interacts with the characters in this form. -
Plutarch's Pericles.Indd
Copyright © 2021, 2019 The Annotated Plutarch A Charlotte Mason Plenary, LLC Pericles The Annotated Plutarch Series All rights reserved. No part of this book may be Volume 2 reproduced in any form or by any electronic or 2nd Edition mechanical means, including information storage Text by Plutarch and Rachel Lebowitz and retrieval systems, without permission in Annotated and edited by Rachel Lebowitz writing from the publisher, except by reviewers, Translation by George Long and Aubrey Stewart who may quote brief passages in a review. Issued in print and electronic formats. Published by A Charlotte Mason Plenary, LLC ISBN: 978-1-954822-14-6 (paperback) A Charlotte Mason Plenary is an educational company committed to furthering the ideas and educational philosophy of Charlotte Mason. We specialize in customizing curricula for families. :HR̆HUERRNVVWXG\JXLGHVFRXUVHVDQGKRPHVFKRROLQJFRQVXOWDWLRQVLQFOXGLQJVSHFLDOQHHGV consultations, based on the Charlotte Mason method of education. Visit A Charlotte Mason Plenary at CMPLENARY.COM The Annotated Plutarch Pericles PLUTARCH’S LIVES MADE EASY WITH THE ANNOTATED PLUTARCH SERIES ORIGINAL TEXT BY PLUTARCH ANNOTATED AND EXPANDED BY RACHEL LEBOWITZ TRANSLATION BY GEORGE LONG AND AUBREY STEWART PUBLISHED BY A CHARLOTTE MASON PLENARY, LLC The Annotated Plutarch Pericles PLUTARCH’S LIVES MADE EASY WITH THE ANNOTATED PLUTARCH SERIES Table of Contents Preface to Plutarch’s Lives .......................................................................7 Lesson 1: The Golden Age of Athens ............................................21 -
Language Fixation in Dryden's All for Love
Language Fixation in Dryden's All for Love MARCUS NORDLUND In his preface to All for Love (1677), John Dryden made the following remark on the relationship between his new play and its Shakespearean source: "In my Stile I have profess'd to imitate the Divine Shakespeare.... I hope I need not explain my self, that I have not Copy'd my Author servilely: Words and Phrases must of necessity receive a change in succeeding Ages: but 'tis almost a Miracle that much of his Language remains so pure..." (18). What is particularly interesting about this passage is how a standard invocation of the Renaissance ideal of imitatio— that is, a balance between respectful imitation and individual innovation— immediately turns into a divided remark on language change. While Dryden seems to accept that language change is inevitable, his characterisation of Shakespeare's language as remarkably 'pure' also suggests that mutability is ultimately synonymous with corruption. This negative perception of linguistic change and the resulting desire for purity and stability is entirely in keeping with Dryden's well-known commitment to language reform: the idea that it might be possible to "fix" the English tongue and thus render it more stable and dependable.1 The question I want to raise here is whether the slippage from dramatic imitation to language change in the passage above is an isolated event, or whether similar concerns also rubbed off on the very play to which he affixed this preface. Perhaps All for Love itself contains traces of this self- conscious attitude to language, and particularly the dream of a more stable correspondence between words and things? Before I define my argument more closely I want to examine and integrate two important critical insights about All for Love, the first of which concerns its overriding theme. -
A History of English Literature MICHAEL ALEXANDER
A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting -
For Love, a Full-Fledged Heroic Play Written by John Dryden, Has Ever Enjoyed Literary Merit and Public Acclaim Since Its First Performance in 1677
Global Journal of Arts, Humanities and Social Sciences Vol.8, No. 6, pp.76-87, May 2020 Published by ECRTD-UK Print ISSN: 2052-6350(Print), Online ISSN: 2052-6369(Online) DRYDEN’S ALL FOR LOVE, FULL-FLEDGED HEROIC DRAMA: PUBLIC FAME AND LITERARY CONTRIBUTION Dr. Adil M. Jamil Associate Professor of English Amman Arab University ABSTRACT: All For Love, a full-fledged heroic play written by John Dryden, has ever enjoyed literary merit and public acclaim since its first performance in 1677. Dryden’s play is an acknowledged condensed adaptation of Shakespeare’s masterpiece Antony and Cleopatra; yet as the stage records reveal, it drove Shakespeare’s play off stage for more than a century, and reaped great success. The craftsmanship of Dryden as a brilliant playwright and highly skilled poet is delicately latent in this play. More crucially, all for Love exerted a tremendous influence on the upcoming genre, and became a prototype to Sentimental Tragedy of the 18th Century. This article is meant to illuminate the literary contribution and theory of Dryden as chiefly illustrated in All for Love, beside Preface to his play, Dedication, and his critical article Of Heroic Play. Added to this, the article would highlight the factors standing behind the public success and popularity of All for Love during the 18th Century. KEYWORDS: John Dryden, all for love, heroic drama, domestic drama, sentimental tragedy. INTRODUCTION Drama was the literary center during the Restoration Age, and it was the genre in which men of letters tried their mark. Heroic drama was the first to make its mark, and it took the restored theatre by storm. -
Taking Centre Stage: Plutarch and Shakespeare
chapter 29 Taking Centre Stage: Plutarch and Shakespeare Miryana Dimitrova William Shakespeare (1564–1616) was familiar with various classical sources but it was Plutarch’s Lives of the noble Greeks and Romans that played a de- cisive role in the shaping of his Roman plays. The Elizabethan Julius Caesar (performed probably at the opening of the Globe theatre in 1599), and the Jacobean Antony and Cleopatra (c. 1606–1607) and Coriolanus (c. 1605–1610) are almost exclusively based on the Lives, while numerous other plays have been thematically influenced by the Plutarchan canon or include references to specific works. Although modern scholarship generally recognises Shakespeare’s knowl- edge of Latin (ultimately grounded in the playwright’s grammar school educa- tion, which included canonical texts in its curriculum) as well as French and Italian,1 it is widely accepted that he used Sir Thomas North’s translation of the Plutarch’s Lives. Ubiquitously dubbed “Shakespeare’s Plutarch”, its first edi- tion in the English vernacular appeared in 1579 and was followed by expanded editions in 1595 and 1603. North translated the Lives from the French version of Jacques Amyot, published in 1559 (see Frazier-Guerrier and Lucchesi in this volume). Shakespeare was also acquainted with the Moralia, possibly in its first English translation by Philemon Holland published in 1603, although a version entered in the Stationers Register in 1600 allows for a possible influence on Shakespeare’s earlier works.2 Shakespeare’s borrowings should be seen in the light of the fact that Plutarch’s Lives were admired in early modern England for their profound in- terest in the complexities of the human character and their didactic signifi- cance. -
The Temple Classics
THE TEMPLE CLASSICS Edited by W. H. D. ROUSE M.A. First iss_t *f titis Edition, J898 ; R#printtd t908 , 191o PRINTZD IN OJUgAT BH|TAIN In compliance with eurre,lt copyright law, the Univer- sity of Minnesota Bindery produced this facsimile on permanent-durable paper to replace the irreparably deteriorated original volume owned by the University Library. 1988 TO THE MOST HIGH AND MIGHTV PRINCESS ELIZABETH By the Grace of God, of F.mghmd, France, It_ Ireland Queen, Defender of the Fltith, etc. U_DER hope of your Highness' gracious and accus- To the . tomed favour, I have presumed to present here wiaeamd _unto your Majesty, Plutarch's Lives translated, as virtuo,,- • a book fit to be protected by your Highness, and Queea -meet to be set forth in English--for who is , fitter to give countenance to so many great states, - than such an high and mighty Princess ._ who is fitter to revive the dead memory of their _', fame, than she that beareth the lively image of ...their vertues ? who is fitter to authorise a work _of so great learning and wisedom, than she whom all do honour as the Muse of the world ? Therefore I humbly beseech your Majesty, to -_suffer the simpleness of my translation, to be covered under the ampleness of your Highness' pro- _gtecfion. For, most gracious Sovereign, though _-this book be no book for your Majesty's self, =who are meeter to be the chief stone, than a '_student therein, and can better understand it in Greek, than any man can make in English: ' U;k_. -
John Dryden's All for Love As a Play of the Perfection of the Good
LITERARY DRUID A PEER-REVIEWED INTERNATIONAL JOURNAL OF ENGLISH LANGUAGE AND LITERATURE 1 VOL – I: ISSUE – II, MAY 2019 E-ISSN: www.literarydruid.com John Dryden’s All for Love as a Play of the Perfection of the Good Mr. M. Arul Darwin, Assistant Professor of English, MSUC College, Nagalapuram. Abstract At the point when the Restoration happened in England, there were essentially no new stage plays. The essayists returned to old works, for example, Anthony and Cleopatra. The paper indicates how Dryden's All for Love comes back to breaking down the sentimental legend. It is Dryden's best-known and most performed play. It is a catastrophe written in clear stanza and is an endeavor on Dryden's part to revitalize genuine show. Dryden bargains in this play with a similar subject as that of Shakespeare's Antony and Cleopatra. In this play the conceptual components drive the play forward as opposed to solid ones. Dryden likewise move theoretical components into the solid by the characters encompassing Antony symbolize various feelings and roles.all the characters here are impacted by political and individual inspiration. It is one of the focal topics of the play. Antony has an interior clash between picking his affection or his position. Therefore, the article focuses on the perfection of the good in the play. Kerwords: John Dryden, All for Love, Perfection of the Good Dryden guarantees in his introduction to All for Love that his play is for "the perfection of the good; for the central individual displayed, were popular examples of unlawful love; and their end appropriately was lamentable". -
Atypical Lives: Systems of Meaning in Plutarch's Teseus-Romulus by Joel Martin Street a Dissertation Submitted in Partial Satisf
Atypical Lives: Systems of Meaning in Plutarch's Teseus-Romulus by Joel Martin Street A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Classics in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mark Griffith, Chair Professor Dylan Sailor Professor Ramona Naddaff Fall 2015 Abstract Atypical Lives: Systems of Meaning in Plutarch's Teseus-Romulus by Joel Martin Street Doctor of Philosophy in Classics University of California, Berkeley Professor Mark Griffith, Chair Tis dissertation takes Plutarch’s paired biographies of Teseus and Romulus as a path to understanding a number of roles that the author assumes: as a biographer, an antiquarian, a Greek author under Roman rule. As the preface to the Teseus-Romulus makes clear, Plutarch himself sees these mythological fgures as qualitatively different from his other biographical sub- jects, with the consequence that this particular pair of Lives serves as a limit case by which it is possible to elucidate the boundaries of Plutarch’s authorial identity. Tey present, moreover, a set of opportunities for him to demonstrate his ability to curate and present familiar material (the founding of Rome, Teseus in the labyrinth) in demonstration of his broad learning. To this end, I regard the Teseus-Romulus as a fundamentally integral text, both of whose parts should be read alongside one another and the rest of Plutarch’s corpus rather than as mere outgrowths of the tra- ditions about the early history of Athens and Rome, respectively. Accordingly, I proceed in each of my four chapters to attend closely to a particular thematic cluster that appears in both Lives, thereby bringing to light the complex fgural play by which Plutarch enlivens familiar material and demonstrates his virtuosity as author. -
All for Love by John Dryden One of the Best Plays I've Read
Read and Download Ebook All for Love... All for Love John Dryden PDF File: All for Love... 1 Read and Download Ebook All for Love... All for Love John Dryden All for Love John Dryden The age of Elizabeth, memorable for so many reasons in the history of England, was especially brilliant in literature, and, within literature, in the drama. With some falling off in spontaneity, the impulse to great dramatic production lasted till the Long Parliament closed the theaters in 1642; and when they were reopened at the Restoration, in 1660, the stage only too faithfully reflected the debased moral tone of the court society of Charles II. John Dryden (1631-1700), the great representative figure in the literature of the latter part of the seventeenth century, exemplifies in his work most of the main tendencies of the time. He came into notice with a poem on the death of Cromwell in 1658, and two years later was composing couplets expressing his loyalty to the returned king. He married Lady Elizabeth Howard, the daughter of a royalist house, and for practically all the rest of his life remained an adherent of the Tory Party. In 1663 he began writing for the stage, and during the next thirty years he attempted nearly all the current forms of drama. His "Annus Mirabilis" (1666), celebrating the English naval victories over the Dutch, brought him in 1670 the Poet Laureateship. He had, meantime, begun the writing of those admirable critical essays, represented in the present series by his Preface to the "Fables" and his Dedication to the translation of Virgil.