The Cambridge Companion to John Dryden - Edited by Steven N

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INDEX

Absalom and Achitophel, 40, 48 in Religio Laici, 9–10, 173–174, 176, anonymity of, 166–167 247–249 and Augustan culture, 79–80 see also Church of England biblical allusions in, 98–100 Anglo-Dutch Wars, 140–141 commemoration of Ossory, 80 see also Annus Mirabilis. The Year of and English academy, 190–191 Wonders, 1666 influence of Paradise Lost, 170–171 Annus Mirabilis. The Year of Wonders, and post-Fire London, 115 1666, 42–43, 62–63 and religious conflict, 243–244 and allegiance to Charles II, 225–229 religious subtext and anonymity, 168–171 and Anglican doctrine, 241 and shaping of literary life, 8 and Augustan culture, 78–79 use of triplets, 93–100 criticism of Dutch trade monopoly, 64–65 academy, see English academy; French dedications, 205–207 academy; sociability elegy on old London, 116 Addison, Joseph, 68 heroic bestiary, 227–228 adultery, 23–25, 27–28 ideology, 63–68 Aeneid, 41, 80–82, 235–236 and imperial imagination, 63–73 Albion and Albanius, 147–149 and post-Fire London, 114–115 Alexander’s Feast, 54 and shaping of literary life, 6 All For Love; or, The World Well Lost, anonymity, 156–178 29–30 Absalom and Achitophel, 166–167, and elegy, 54–55 168–171 and influence of politics on theatre, accusations of plagiarism, 164–165 145–146 attribution to Thomas Shadwell, 160–161 self-recognition as theme, 30 commendatory poems of Nahum Tate, Allusion to Horace, 45 167–168 Amboyna or The Cruelties of the Dutch to The Dunciad, 172–173 the English Merchants, 140–141, 142 An Essayupon Satire , 156–157 Amphitryon; or the Two Socias, 27–28 execution of Stephen College, 157–158 adultery, 27–28 versus identification in Religio Laici, and influence of politics on theatre, 150 173–174, 176 analogies, 42, 43 and impersonality, 166–167, 168–171 ancients, see classicism MacFlecknoe, 163–165 Anglicanism, 240–241 The Medal, 158–159, 168 in Annus Mirabilis, 241 motives for, 157–158, 166–167, 178 comparison to Catholicism of The Hind and political propaganda, 166 and the Panther, 176 and Roman Catholicism, 176–178 and satire, 159–160

290

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The Second Part of Absalom and Boccaccio, see Fables Ancient and Modern Achitophel, 172–173 Boileau, Nicolas, 38–39, 189–190 use of by Earl of Rochester, 161–162 Boyle, Roger (Earl of Orrery), 204–205 and wit, 174–176 Braganza, Catherine of (Queen of Great anti-scripturism, 247–249 Britain), 138 Antonyand Cleopatra , 144–145 Buckingham, Duke of, see Villiers, George see also All For Love; or, The World Well (Duke of Buckingham) Lost Butler, Thomas (Earl of Ossory), 80 architecture in poetry, 260–263 Art of Poetry, The, 189–190 capitalism, 62–63 Astraea Redux, 62–63 career, literary, see literary life and allegiance to Charles II, 224 Cartwright, William, 20 and Augustan culture, 78–79 Catherine of Braganza (Queen of Great attributions, see anonymity Britain), 138 Augustan culture, 75–90 Catholicism, see Roman Catholicism duration of, 89–90 Cavaliers, 39 Edmund Waller, 77–78 censorship Horace, 76–77, 81–82 and theatre, 149–150, 151 Ovid, 76–77, 82–85 see also politics as resource for interpreting Restoration changes, as theatrical device, 16–17, England, 75–76 28–35 and Restoration cultural events, 78–82 All For Love, 29–30 Absalom and Achitophel, 79–80 Aureng-Zebe, 28–29 Annus Mirabilis, 78–79 and choice, 32 Astraea Redux, 78–79 Don Sebastian, 30–34 MacFlecknoe, 79 Love Triumphant, 34 translation of classical literature, Secular Masque, 34–35 76–77 self-recognition, 30 Virgil character and satire, 40–41 Aeneid, 80–82 Charles I (King of Great Britain) Sylvae, 81–82 martyrdom, 72–73 translation of, 76–77 see also Church of England; politics The Works of Virgil, 85–89 Charles II (King of Great Britain), 144–145 Aureng-Zebe, 28–29 allegiance to, 224–229 authorship, see anonymity Catholicism of, 249–250 portrayed in All For Love, 145–146 Battle of Lowestoft, 15–16 see also patronage; politics; Restoration see also Essayof Dramatic Poesy,An Chaucer, see Fables Ancient and Modern beast metaphors, 233–235 Chetwood, Knightly, 191–192 bellicosity of heroic plays, 230–231 Cheyne, George, 42 bestiary, heroic Christianity Annus Mirabilis, 227–228 attacks against Bible, 247 The Hind and the Panther, 233–235 challenges to, 246–247 Bible see also religion allusions to in Absalom and Achitophel, Church of England, 239 98–100, 168–171 criticism of in The Hind and the Panther, attacks against, 247 250–253 Blackmore, Richard, 259 and Restoration, 240–241 attacks against Restoration theatre and see also Anglicanism; religion wit, 265 circularity, 263–264 and instructive tradition of fables, 271 City vice versus virtue in theatre, 268–271 contempt for, 120–122 see also Fables Ancient and Modern control of national economy, 122–123

291

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City (cont.) Cromwell, Oliver, 142 relationship to Town, 120–123 Heroique Stanzas, 223–224 see also London political allegiance to, 222–224 civility and religious conflict, 240 importance of in Town, 118–120 see also politics and sociability in Restoration London, culture, Augustan, see Augustan culture 183–185 culture, literary class, social, 45 translation of Virgil, 213–214 classicism, 55–56, 280–283 see also sociability Clifford, Hugh, Lord, 214–215 coffee houses Davenant, William, 40, 226–227, 230–231, and friendship, 192–193, 194 234 see also sociability definition of heroic poetry by, 222–223 College, Stephen, 157–158 The Tempest, 22–23 Collier, Jeremy, 259 dedications, 200–207 attacks against Restoration theatre, in Annus Mirabilis, 205–207 264–266, 267–268 City of London, 205–206 vice versus virtue in theatre, 268–271 Sir Robert Howard, 206–207 see also Fables Ancient and Modern on behalf of Henry Purcell, 202–203 comedies and critical debate, 204–205 Amphitryon; or the Two Socias, 27–28 to Earl of Dorset, 208–210 The Conquest of Granada, 21–22 in form of panegyrics, 202 and doubling as a theatrical device, 23 in form of private letters, 201–202 Marriage A-la-Mode, 23–27 to Lord Radcliffe, 215–216 vice versus virtue, 268–271 deism, 247–249 see also wit delight, as concept in Fables, 269–271 commerce Dennis, John, 186 benevolent ideology of digressions, 276–277 Alexander Pope’s Windsor Forest, 66 Dillon, Wentworth (Earl of Roscommon), Annus Mirabilis, 63–67 191–193 George Lallo’s The London Merchant, disappearances, 284 65 “Discourse concerning the Original and criticism of Dutch trade monopoly, 64–65 Progress of Satire, A,” 37–38, ideology of world peace, 67–68 208–210 compressions, as theatrical device, 18–22 divine providence, 241 The Conquest of Granada, 18–22 divinity and anonymity, 168 An Essayof Dramatic Poesy , 18 domesticity in Fables, 273–274 conflict, religious, see religion Don Sebastian, 30–34 Congreve, William, 193, 262 Dorset, Earl of, see Sackville, Charles (Earl Conquest of Granada, The, 18–22 of Dorset) and ambiguity of royalism, 139–140 doublings, as theatrical device, 22–28 comedy in, 21–22 adultery, 23–25, 27–28 isolation in, 20–21 Amphitryon; or the Two Socias, 27–28 and political allegiance, 229–232 in comedies, 23 conspiracies, see politics identity, 25–27 Cooper, Anthony Ashley (Earl of Marriage A-la-Mode, 23–27 Shaftesbury), see Absalom and The Tempest, 22–23 Achitophel; Medal, The; State of dramas Innocence, The literary rivalry between English and country, relationship to London, 127–129 French, 60–61 couplets, development into triplets, 92 and politics, 133–134 Court Wits, see Cavaliers see also theatrical imagination Cowley, Abraham, 185–188 Du Bartas, 189–190

292

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Duke of Guise, The, 146–149 Evelyn, John, 185–188, 247 Dunciad, The, 172–173 Exclusion Crisis Dutch Wars, see Anglo-Dutch Wars; English academy during, 188–193 Charles II (King of Great Britain); Absalom and Achitophel, 190–191 Marvell, Andrew; York, Duke of The Art of Poetry, 189–190 (James) Earl of Dorset, 193 Earl of Mulgrave, 191–193 economics, see commerce; London Earl of Roscommon, 191–193 elegy Viscount of Halifax, 191–192 Alexander’s Feast, 54 and satire, 232–233 All For Love, 54–55 see also sociability and satire, 54–55 Eleonora, 200 Fables Ancient and Modern, 259–277 empire, and influence of politics on theatre, defense of in Preface, 274–275 136–137 defense of music in theatre, 267–268 England delight, sex, and passion in, 269–271 ideology of trade supremacy and world domesticity in, 273–274 peace, 67–68 importance of imaginative chase, rivalry with France and Netherlands, 259–260, 263–264 59–61 improvisation of selections within, 260 see also Augustan culture; religion; and instructive tradition, 271–272 Restoration literary kinship in, 275–276 English academy and moral revolution, 264–265 Historyof the RoyalSociety , 186–187 presentation of poetry as architecture, and sociability in Restoration London, 260–262, 263 185–188 and shaping of literary life, 11–13 see also Exclusion Crisis use of digressions in, 276–277 English satire, 38–39 vice versus virtue, 264–265 see also satire virtue within, 272–273 epics see also Blackmore, Sir Richard; Collier, Absalom and Achitophel, 40 Jeremy; theatre see also Conquest of Granada, The; Fire of London, 114–116 MacFlecknoe; Paradise Lost; Virgil Absalom and Achitophel, 115 epic similes, 41–43 Annus Mirabilis, 114–115 Annus Mirabilis, 42–43 MacFlecknoe, 115 and politics, 42–43 “To the memory of Mr. Oldham,”, 115 Epilogue Spoken at the Opening of the New foreign affairs, and influence of politics on House, 106–107 theatre, 136–137, 140–141 epistles, see names of specific epistles France, rivalry with England and “Epistles,” 52–53 Netherlands, 59–61 Essayof Dramatic Poesy,An , 15–16 French academy, 188–190 and compression, 18 Du Bartas, 189–190 and imperial imagination, 59–61 Nicolas Boileau, 189–190 influence of politics on theatre, 133 friendship and sociability in Restoration and rivalry for imperial power, 59–61 London, 192–194 and shaping of literary life, 5–6 and sociability in Restoration London, gifts, New Year’s, 199–200 183–185 influence of French academy, 188–190 Halifax, Viscount of, see Savile, George institution of English academy, (Viscount of Halifax) 187–189 heroic nostalgia essays, see names of specific essays and conquest of Mexico, 71–73 Essayupon Satire, An , 156–157 The Indian Emperor, 72–73

293

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heroic plays and demise, 73–74 bellicosity of, 230–231 An Essayof Dramatic Poesy , 59–61 “Of Heroique Playes,” 230–231 heroic nostalgia and conquest of Mexico, see also Conquest of Granada, The; 71–73 literary life; Rehearsal, The ideology of benevolent commerce, heroic poems 63–67 and allegiance to Oliver Cromwell, Alexander Pope’s Windsor Forest, 66 222–224 George Lallo’s The London Merchant, as deﬁned by William Davenant, 65 222–223 literary rivalry between English and see also Annus Mirabilis. The Year of French, 60–61 Wonders, 1666 nationalist poetry, 62–63 “Heroique Playes, Of,” 230–231 panegyric, 62–63 Heroique Stanzas, 223–224 paradox of, 73–74 Hind and the Panther, The, 48 and rivalry for power, 59–61 and allegiance to James II, 233–235 impersonality Catholicism and Anglicanism in Religio Laici, 176 and anonymity, 176–178 and anonymity, 166–167, 168–171 conversion to, 250–253 in Religio Laici, 173–174 and shaping of literary life, 10–11 improvisation in Fables, 260 Historiographer Royal, 207, 230 incest, 32–34 Historyof the RoyalSociety , 186–187 Independents, 240 Homer, see Fables Ancient and Modern Indian Emperor, The, 72–73, 137 Horace, 38, 55–56 Indian Queen, The, 136 Sylvae, 81–82 instructive tradition translation of and Augustan culture, defense of by Sir Richard Blackmore, 76–77 271 Howard, Robert, 206–207 in Fables, 271–272 humor international politics, see politics and social class, 45 “Iphis and Ianthe,” 83–84 versus wit in satire, 44–48 irony, in satire, 51 hunt of sex, 273 isolation, in The Conquest of Granada, Hutchinson, Lucy, 247 20–21

identity, 25–27, 173–174 James II (King of Great Britain), 233–235 imagination allegiance to, 233–235 aptness of triplets, 93–95 as seen in translation of Aeneid, see also imperial imagination; theatrical 235–236 imagination Catholicism of, 249–250 imaginative chase, see Fables Ancient and see also York, Duke of (James) Modern Johnson, Samuel, 15, 17, 18, 22, 89, imaginative house, see Fables Ancient and 102–104, 199 Modern Jonson, Ben, 261 imitations Juvenal, 38, 55–56 as characteristic of Varronian satire, 49 translation of satires, 124–127 Paradise Lost, 49–50 see also Juvenalian satire imperial doctrine, 136–137 Juvenalian satire, 51–56 imperial imagination, 59–74 Alexander’s Feast, 54 Annus Mirabilis, 63–73 All For Love, 54–55 criticism of Dutch trade monopoly, and elegy, 54–55 64–65 “Epistles,” 52–53 ideology of trade supremacy and world The Medal, 51–52 peace, 67–68 Religio Laici, 53–54

294

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lampoons, see anonymity; satire loyalism, see royalism laureateship, 207 Lucretius, 246–247 influence of on Tyrannick Love, 137–139 MacFlecknoe, 45–46, 47–48 influence on writings, 131–132 and anonymity, 163–165 see also royalism and post-Fire London, 115 letters, dedications written in form of private and Restoration cultural events, 79 communication, 201–202 satire against Shadwell, 164–165 Leviathan, 46–47 and shaping of literary life, 7–8 Life of Dryden, 15, 17 manuscript circulation Lillo, George, 65 of MacFlecknoe, 163–165 literary criticism and print publication, 193–194 An Essayof Dramatic Poesy , 59–61 Marriage A-la-Mode, 23–27 rivalry of English and French drama, adultery in, 23–25 60–61 dedication to Earl of Rochester, 45 and shaping of literary life, 6–7 identity in, 25–27 literary culture, see sociability martyrdom, 72–73 literary life, 3–14 Marvell, Andrew Annus Mirabilis, 6 allegiance to Oliver Cromwell, 223–224 An Essayof Dramatic Poesie , 5–6 views on the Dutch Wars, 225–227 Fables, 11–13 materialism, 246–247 heroic drama, 6–7 Medal, The, 51–52, 158–159, 168 literary criticism, 6–7 mercantile expansion, 62–63 major influences on, 4, 5 Metamorphoses, 82–84, 85 privacy and publicity, 9–10 metamorphoses, and attacks against religion, 9–11 Restoration theatre, 264–265 The Hind and the Panther, 10–11 Mexico, 71–73 Religio Laici, 9–10 Milton, John, 49–50 satire, 7–8 see also Paradise Lost; State of Innocence, Absalom and Achitophel, 8 The MacFlecknoe, 7–8 miscellany, see Fables Ancient and Modern and theatre, 6–7 modernity literary patronage, see patronage versus classicism, 280–283 London, 113–129 criticism of by Jonathan Swift, 281–282 comparison to Rome, 123–127 monopolies, 64–65 contempt for, 120–122 Montaigne, 31 control of national economy, 122–123 Montezuma, 71–73 dedication of Annus Mirabilis, 205–206 moral revolution, 264–265 fire of, 114–116 Motteux, Peter, 266–267 old City, 113–115 Moyle, Walter, 193 post-fire, 115–120 Mulgrave, Earl of, see Sheffield, John (Earl of Absalom and Achitophel, 115 Mulgrave) Annus Mirabilis, 114–115, 116 multiplicity, see doublings MacFlecknoe, 115 music in theatre, 267–268 “To the memory of Mr. Oldham,” 115 mutability, see changes, as theatrical device relationship of City to Town, 120–123 relationship to country, 127–129 nationalist poetry, 62–63 and Town Neptune simile, 41 and civility, 118–120 Netherlands development of, 116–120 Anglo-Dutch conflicts’influence on see also sociability theatre, 140–141 London Merchant, The, 65 criticism of trade monopoly, 64–65 Love Triumphant, 34 rivalry with England and France, 59–61

295

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New Testament, 98–100 and subscription publication, 211–212 Nonconformists, 240 symbolism of New Year’s gifts, 199–200 nostalgia, heroic, see heroic nostalgia see also dedications; royalism pax britannica, 67–68 Oldham, John, 39 Pepys, Samuel, 181–182, 184 Old Testament, 98–100 personalities, see character; Restoration opposite probabilities, 15–17 piety, see religion Battle of Lowestoft, 15–16 plagiarism, accusations of and political experience, 16 in MacFlecknoe, 164–165 oral culture, see sociability in The Rehearsal, 165 Orrery, Earl of, see Boyle, Roger plays, see heroic plays; names of specific Ossory, Earl of, see Butler, Thomas (Earl of plays; theatrical imagination Ossory) plots, see politics Ovid Poet Laureate, 207 Metamorphoses, 82–85 influence on writings, 131–132, 137–139 “Iphis and Ianthe,” 83–84 see also royalism use of digressions in, 276–277 poetry see also Fables Ancient and Modern as architecture, 260–263 Owen, Susan J., 147 imperialist, 63–74 nationalist, 62–63 Panegyrick on his Coronation, 225 piety and religion, 253–255, 256 Panegyrick to my Lord Protector, A, 77–78 of praise, 40, 42 panegyrics, 40–42 see also heroic poems; and individual dedication of Annus Mirabilis to London, poems 205–206 political allegiance, 221–236 as dedications, 202 heroic plays, 229–232 Eleonora, 200 and heroic poems, 222–224 nationalist poetry, 62–63 to James, Duke of York, 229–232 Paradise Lost, 94 and satire, 233–235 and imitation as basis of satire, 49–50 see also Charles II (King of Great Britain); influence on Absalom and Achitophel, Cromwell, Oliver; heroic plays; heroic 170–171 poems; James II (King of Great see also State of Innocence, The Britain) paradoxes politics of imperial imagination, 73–74 and choice of patron, 203–204 of nationalist poetry, 63 and collaborative translation of Virgil, parodies 214–215 as characteristic of Varronian satire, 49 and conversion to Catholicism, 249–250 Paradise Lost, 49–50 in epic similes, 42–43 passion in Fables, 269–271 and opposite probabilities, 16 patronage, 131–132, 199–217 propaganda and anonymity, 166 allusion to Roman roots of, 214–215 see also imperial imagination; religion; and collaborative translations theatre, and politics aid of Jacob Tonson, 210–211 Pope, Alexander as major cultural event, 213–214 The Dunciad, 172–173 and political divides, 214–215 use of triplets, 102–105 of Virgil, 211–215 Windsor Forest, 66, 68 complexity of, 199–201 popery, see Roman Catholicism Earl of Rochester, 207–208 portraits, see character modern views of, 199 Portsmouth, Duchess of panegyric, 200 as portrayed in All For Love, 145–146 and protection, 203–204 praise, poems of, 40 Sir Charles Sedley, 207–208 Presbyterians, 240

296

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pride, personal, see religion see also literary life; politics; Roman print publication and manuscript circulation, Catholicism 193–194 reputation, and acceptance of religious privacy and publicity, 9–10 writings, 253–255 probabilities, opposite, 15–17 Restoration propaganda, see politics Augustan culture as resource for protection and patronage, 203–204 interpreting, 75–76 Protectorate, see Cromwell, Oliver Catholicism during, 241–242 Protestantism, see Church of England; Church of England, 240–241 religion effect on personality and art providence, 241 ambivalence, 283–284 publication classicism versus modernity, 280–283 manuscript circulation and print, 193–194 criticism of modernity by Jonathan Swift, and patronage, 210–211 281–282 subscription publication, 211–212 disappearances, 284 publicity and privacy, 9–10 political events and Augustan culture, Purcell, Henry, 202–203 78–82 Puritans, 142, 239–240 Absalom and Achitophel, 79–80 Presbyterian wing, 240 MacFlecknoe, 79 satire of, 38–39 as portrayed in adaptation of The see also religion Tempest, 135–136 rise of English satire, 38–39 Radcliffe, Edward, 215–216 royalism and theatre, 131–132 reason in religion, 245–249 war between theatres, 229–232 rebellions, see politics see also Charles II (King of Great Rehearsal, The Britain); politics; religion; sociability; accusations of plagiarism in, 165 theatre and political allegiance, 229–232 Rochester (John Wilmot), Earl of, 45 see also Villiers, George Allusion to Horace, 45 Religio Laici, 53–54, 247–249 and anonymity, 161–162 and impersonality, 173–174, 176 request to for patronage, 207–208 and religious conﬂict, 244 Roman Catholicism and shaping of literary life, 9–10 and anonymity in The Hind and the religion, 237–256 Panther, 176–178 attacks against Bible, 247 of Charles II and James II, 249–250 and conﬂict in England, 238–245 conversion to, 244–245, 249–253 Absalom and Achitophel, 243–244 The Hind and the Panther, 250–253 Annus Mirabilis, 241 Religio Laici, 247–249 Church of England, 239, 240–241 in Restoration England, 241–242 comments on in theatrical works, Rome, comparison to London, 123–127 242–243 royalism under Cromwell, 240 ambiguity of, 139–140 Independents, 240 patronage, 207 Nonconformists, 240 Royal Slave, The, 20 Presbyterians, 240 as seen in Annus Mirabilis, 205–207 Puritans, 239–240 and theatre, 131–132, 137–146 Religio Laici, 244 Amboyna, 140–141 and personal pride, 245–253 Tyrannick Love, 137–139 challenges facing Christianity, 246–247 see also patronage; politics The Hind and the Panther, 45–46 importance of reason, 245–249 Sackville, Charles (Earl of Dorset), 193, materialism, 246–247 208–210 piety and poetry, 253–255, 256 Saintsbury, George, 105–106

297

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satire, 37–45, 56 Secular Masque, 34–35 Absalom and Achitophel, 48 Sedley, Charles “A Discourse concerning...Satire,” Antonyand Cleopatra , 144–145 37–38 request to for patronage, 207–208 and allegiance to James II, 233–235 self-recognition, 30 and anonymity, 159–160 Settle, Elkanah, 172–173 Cavaliers, 39 sex in Fables, 269–271, 273 and character, 40–41 Shadwell, Thomas, 45–46, 47–48, 115, classical, 55–56 172–173 Duke of Buckingham, 45 and anonymity, 160–161 Earl of Rochester, 45 satire against in MacFlecknoe, 164–165 and the epic genre, 40 see also Medal, The and epic simile, 41–43 Shaftesbury, Earl of, see Cooper, Anthony Annus Mirabilis, 42–43 Ashley (Earl of Shaftesbury) Neptune, 41 Shakespeare, William, 22–23 politics, 42–43 Shaw, George Bernard, 98–99 “To My Honored Friend, Dr. Charleton,” Shefﬁeld, John (Earl of Mulgrave) 41 and English academy, 191–193 during Exclusion Crisis, 232–233 An Essayupon Satire , 157 The Hind and the Panther, 233–235 simile, epic, 41–43 Hobbes’s Leviathan, 46–47 sociability, 181–194 Horace, 38 Abraham Cowley, 185–188 imitation or parody in Paradise Lost, and civility, 183–185 49–50 coffee houses and literary culture, John Oldham’s Satyres upon the Jesuits, 181–182 39 balance between print and manuscript Juvenalian, 51–56 publication, 193–194 Alexander’s Feast, 54 Walter Moyle, 193 All For Love, 54–55 William Congreve, 193 and elegy, 54–55 emphasis on friendship, 192–194 “Epistles,” 52–53 and English academy, 185–188 The Medal, 51–52 Absalom and Achitophel, 190–191 Religio Laici, 53–54 Earl of Dorset, 193 MacFlecknoe, 45–46, 47–48, 163–165 Earl of Mulgrave, 191–193 Nicolas Boileau, 38–39 Earl of Roscommon, 191–193 and the panegyric, 40–42 during Exclusion Crisis, 188–193 and poems of praise, 40 Historyof the RoyalSociety , 186–187 of Puritans, 38–39 Viscount of Halifax, 191–192 rise of English, 38–39 An Essayof Dramatic Poesie , 183–185 and social class, 45 French academy, 188–190 Varronian, 48–49, 51 Du Bartas, 189–190 Hind and the Panther, The, 48 Nicolas Boileau, 189–190 signiﬁcance of imitation or parody, 49 mingling of oral and literate culture, Swift, 50–51 182–183 use of irony, 51 Thomas Sprat, 186–187 wit versus humor, 44–48 social class, 45 see also literary life Spanish Fryar, The; or, The Double Satyres upon the Jesuits, 39 Discovery, 147 Savile, George (Viscount of Halifax), Sprat, Thomas 191–192 Historyof the RoyalSociety , 186–187 Scott, Walter, 31 and sociability in Restoration London, Second Part of Absalom and Achitophel, 186–187 The, 172–173 State of Innocence, The, 141–143

298

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Stuart monarchy and choice, 32 patronage, 207 Don Sebastian, 30–34 see also royalism Love Triumphant, 34 subscription publication, 211–212 Secular Masque, 34–35 Swift, Jonathan, 50–51, 281–282 compressions, 18–22 Sylvae, 81–82 comedy, 21–22 Sylvester, Joshua, 189–190 Conquest of Granada, The, 18–22 An Essayof Dramatic Poesy , 18 Tate, Nahum, 167–168 isolation, 20–21 Tempest or The Enchanted Island, The, doublings, 22–28 22–23, 135–136 adultery, 23–25, 27–28 theatre Amphitryon; or the Two Socias, 27–28 attacks against comedy, 23 due to moral revolution, 264–265 identity, 25–27 music, 267–268 Marriage A-la-Mode, 23–27 wit, 265, 266 The Tempest, 22–23 and comments on religious conflict, 242–243 An Essayof Dramatic Poesy , 15–16 defense against critique of, 266–267 opposite probabilities, 15–17 and politics, 131–151 Battle of Lowestoft, 15–16 Albion and Albanius, 147–149 and political experience, 16 All For Love, 145–146 timidity and anonymity, 157–158 ambiguity of royalism in The Conquest of “To My Dear Friend Mr Congreve,” 262 Granada, 139–140 “To My Friend, the Author [Mr. Motteux],” Amboyna, 140–141 266–267 Amphitryon, 150 “To My Honored Friend, Dr. Charleton,” 41 Antonyand Cleopatra , 144–145 Tonson, Jacob, 210–211 censorship, 149–151 “To the memory of Mr. Oldham,” 115 in drama, 133–134 Town drama and public debate, 134 and civility, 118–120 The Duke of Guise, 146–149 and control of national economy by City, An Essayof Dramatic Poesy , 133 122–123 The Indian Emperor, 137 development of, 116–120 The Indian Queen, 136 relationship to City, 120–123 influence of foreign affairs, 136–137 see also London influence of royal patronage on writings, trade, see commerce 131–132 tragicomedies plots, conspiracies, and propaganda, Astraea Redux, 224 146–149 The Spanish Fryar, 147 rebellions and restorations, 135–137 see also Marriage A-la-Mode; Tempest, or royalism, 131–132, 137–146 The Enchanted Island, The The Spanish Fryar, 147 translation The State of Innocence, 141–143 of Augustan literature, 76–77 The Tempest, 135–136 collaborative Tyrannick Love, 137–139 aid of Jacob Tonson, 210–211 Vindication of the Duke of Guise, and subscription publication, 211–212 146–149 of Virgil, 211–215 and shaping of literary life, 6–7 satires of Juvenal, 124–127 virtue versus vice, 265–266, 268–271 of Virgil during Anglo-Dutch trade wars, 229–232 as major cultural event, 213–214 theatrical imagination, 15–35 and political divides, 214–215 changes, 28–35 triplets, 92–107 All For Love, 29–30 critique of by Samuel Johnson, 102–104 Aureng-Zebe, 28–29 development from couplets, 92

299

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triplets (cont.) and political divides, 214–215 Epilogue Spoken at the Opening of the and subscription publication, 211–212 New House, 106–107 Neptune simile, 41 imaginative aptness of, 93–95 Sylvae, 81–82 use of by Alexander Pope, 102–105 translation of and Augustan culture, 76–77 use of in Absalom and Achitophel, The Works of Virgil, 85–89 93–100 virtue typology, 42, 43 within Fables, 272–273 Tyrannick Love, or The Royal Martyr, versus vice in theatre, 264–266, 268–271 137–139 Waller, Edmund, 77–78 Van Doren, Mark, 92–93, 106 West End of London Varro, 49 settling of, 116–120 Varronian satires, 48–51 see also London Hind and the Panther, The, 48 William III (King of Great Britain), signiﬁcance of imitation or parody, 49 264–265 and Swift’s satire, 50–51 Will’s Coffee House, see coffee houses use of irony, 51 Windsor Forest, 66 vice versus virtue, 264–266, 268–271 wit Villiers, George (Duke of Buckingham), 22, Blackmore’s attacks on theatre and, 265 260–261 Collier’s attacks on theatre and, 265–266 The Rehearsal, 18, 45 versus humor in satire, 44–48 and accusations of plagiarism, 165 identiﬁcation with and request for and political allegiance, 229–232 patronage, 207–208 see also Fables Ancient and Modern and social class, 45 Vindication of the Duke of Guise, and use of anonymity, 174–176 146–149 Works of Virgil, The, 85–89 Vinsauf, Geoffrey of, 261 world peace, and ideology of British trade Virgil supremacy, 67–68 Aeneid, 80–82 collaborative translation of works of, York, Duke of (James), allegiance to, 211–215 229–232 as major cultural event, 213–214 see also James II (King of Great Britain)

300