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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. -
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. -
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. -
Cleopatra, by Jacob Abbott CHAPTER<P>
1 Cleopatra, by Jacob Abbott CHAPTER<p> I. CHAPTER CHAPTER I. CHAPTER I. CHAPTER II. CHAPTER II. CHAPTER III. CHAPTER III. CHAPTER IV. CHAPTER IV. CHAPTER V. CHAPTER V. CHAPTER VI. CHAPTER VI. CHAPTER VII. CHAPTER VII. CHAPTER VIII. CHAPTER VIII. CHAPTER IX. Cleopatra, by Jacob Abbott 2 CHAPTER IX. CHAPTER X. CHAPTER X. CHAPTER XI. CHAPTER XI. CHAPTER XII. CHAPTER XII. Cleopatra, by Jacob Abbott The Project Gutenberg eBook, Cleopatra, by Jacob Abbott This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Cleopatra Author: Jacob Abbott Release Date: February 8, 2004 [eBook #10992] Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK CLEOPATRA*** E-text prepared by Ted Garvin, Terry Gilliland, and Project Gutenberg Distributed Proofreaders Makers of History Cleopatra, by Jacob Abbott 3 CLEOPATRA BY JACOB ABBOTT [Illustration: CLEOPATRA.] PREFACE Of all the beautiful women of history, none has left us such convincing proofs of her charms as Cleopatra, for the tide of Rome's destiny, and, therefore, that of the world, turned aside because of her beauty. Julius Caesar, whose legions trampled the conquered world from Canopus to the Thames, capitulated to her, and Mark Antony threw a fleet, an empire and his own honor to the winds to follow her to his destruction. Disarmed at last before the frigid Octavius, she found her peerless body measured by the cold eye of her captor only for the triumphal procession, and the friendly asp alone spared her Rome's crowning ignominy. -
A Study of Mark Antony's Downfall in John Dryden's All for Love
CI{AP'TERI II'\ITRODL,C:TION I.1 Backgroundof the Stud.v- The existenceof Puritanismin Englandhad teriblv trec.omethe great obstaclefbr the Englishdramatic literature to dcvelop.preciselv tluring 1642unlil 1660. The Puritans. having the intention to puri$'the Church of England. were eagerto fbrbid all sorts of amusementwhich were consideredbv them as public immoralit-l'. That is wh1'rvhen the-v" cameto potver in 1642. they immediatel"vclosed down all the theatres. It meansthat the geat blooming of drama and performancefrom the ElizabethanAge (1485-1625) was tbrced to put an end. As a result, playvriting degeneratedduring the gorremment of the Republic of Commonwealth(1649-1659) (\Voods 824). The blooming of drama in England returned as soon as CharlesII. who rvas restoredto the English throne in 1660. camefiom his exile in France. The theat'eswere reopenedunder royal patronage. It causedthe public's aftentionto-retum to theane with great excitement after the long privation. The English plavrvrights' desire and spiriq which were prosseddown during Puritanisnl dared to rise again. This situation awakenedthe dramatic literature greatly. Thus this era' known as the RestorationAge (1660-1700)' '"the indicates the great development of drama, most spectaculart-vpe of literature produced in Restoration Age,' in English literature (S23--$). This fact makes the thesis lwiter interestedin this particular age since she is amazedby'the revival of drama after being banned during the eighteenyears of Puritan domination. It also becomes her reason why she choosesdrama. insteadof other literary geffes. of the Restorationperiod. As the greatestwriter of the RestorationAge. John Dryden is eminenf as pla.v"nright.poet. -
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". -
Sallust's Histories and Triumviral Historiography
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2012 Sallust's Histories and Triumviral Historiography Jennifer Gerrish University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Classics Commons Recommended Citation Gerrish, Jennifer, "Sallust's Histories and Triumviral Historiography" (2012). Publicly Accessible Penn Dissertations. 511. https://repository.upenn.edu/edissertations/511 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/511 For more information, please contact [email protected]. Sallust's Histories and Triumviral Historiography Abstract This dissertation explores echoes of the triumviral period in Sallust's Histories and demonstrates how, through analogical historiography, Sallust presents himself as a new type of historian whose "exempla" are flawed and morally ambiguous, and who rejects the notion of a triumphant, ascendant Rome perpetuated by the triumvirs. Just as Sallust's unusual prose style is calculated to shake his reader out of complacency and force critical engagement with the reading process, his analogical historiography requires the reader to work through multiple layers of interpretation to reach the core arguments. In the De Legibus, Cicero lamented the lack of great Roman historians, and frequently implied that he might take up the task himself. He had a clear sense of what history ought to be : encomiastic and exemplary, reflecting a conception of Roman history as a triumphant story populated by glorious protagonists. In Sallust's view, however, the novel political circumstances of the triumviral period called for a new type of historiography. To create a portrait of moral clarity is, Sallust suggests, ineffective, because Romans have been too corrupted by ambitio and avaritia to follow the good examples of the past. -
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. -
Tragic Love Stories”
Syllabus 4/2 (2015) M. Sloan, “Tragic Love Stories” TRAGIC LOVE STORIES Michael Sloan, Wake Forest University INTRODUCTORY ESSAY “Tragic Love Stories: Ancient and Early Modern” is a First Year Seminar (FYS) that I developed at Wake Forest University. The FYS program was developed to be: an intense intellectual interchange, both written and oral, in a seminar setting in which all participate…in critical thinking and analysis of arguments. [Seminars] should include discussion and debate on issues, examination of opposing viewpoints…and written and oral assignments that force students to make explicit their ideas and thoughts… Every first year student must pass an FYS course; each seminar contains approximately 10-18 students. Three interrelated factors weighed heavily upon my development of this course: 1) as a Classicist, I wanted to expose students to seminal sources of our discipline without assuming prior knowledge, while also avoiding complete overlap with other offerings of our department; 2) my experience with survey courses as both a student and instructor has been that they too often err in the direction of a mile wide and an inch deep; 3) I wanted to pique the students’ interest with some link to modernity. The general FYS parameters requiring critical intensive reading and writing, combined with my own particular concerns led to exploring a course based upon a study of archetypal narratives. I ultimately chose to study the tragic love story. This archetypal narrative transcends time and genre, and its sources consist of a host of media in which both breadth and depth of study might be achieved. -
Dr. Adil M. Jamil Associate Professor of English Amman Arab University ABSTRACT: All for Love, a Full-Fledged Heroic Play Writte
Global Journal of Arts, Humanities and Social Sciences Vol.8, No. 5, 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. Dryden’s craftsmanship as a brilliant playwright and highly skilled poet is delicately latent in this play. Dryden’s play is an acknowledged condensed adaptation of Shakespeare’s masterpiece Antony and Cleopatra, yet it drove Shakespeare’s play off stage for more than a century, and reaped great success. More crucially it 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 illustrated both in All for Love, 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 in the Restoration Age; 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. It flourished from 1664 to 1684, it was highly influenced by ideas of a number of literary figures who contributed greatly to the birth and prevalence of Heroic Drama. -
All for Love: Or, the World Well Lost. a Tragedy As It Is Acted at the Theatre
ALL—^LOVE: O R, THE World well Loft. A ^TRACED Y, ^ As It is Aflied at the ^ THEATK E^K Y A L\ And Written in Imitation of S"^^j^e/pe^re's Stile. By fohn Vryden , Servant to His Majefty. Facile efi verhnm aliquod ardens (ut itn dicam) notan : id^ue n^ JiinBif animorum incendiis irridere, Cicero* InthSAVOT: *k- Piinted by Tho, Newcomb^ for Henry Herringmatt^ at the Blew An* chor in the Lower Walk of the Nem-Bxchang^. 167B* Tr. "^ y ^fV V- /, ^ i / i^f p 1 '^ '/""^,.' r ' '7^^ if ^t^ ^S 1 4v i .. 4 .Vrt^y 'M r\l mA^i % 1 Digitized by the Internet Archive in 2011 with funding from LYRASIS IVIembers and Sloan Foundation http://www.archive.org/details/allforloveorworlOOindryd ^•- X '^J^ i,"i^^.'i^\J;^t•v,o r AA50M PR To the Right Honourable, THOMAS Earl oi Partly, Yikouni Latimerl and Baron 0SW%3^E of K^iveton in Yor{^ Jhire^ Lord High Treafurer of England^ One of His Majefties moft HonourabTe Privy- Council, and Knight ofthe Moft Noble Or-' derof the Garter, (^c* My LORV, HE Gratitude of Poets h fo tronhlefoms a Virtue to Great Mert^ that yon are of- ten in danger ofyour own Benefits : for joH are threaten d withfome EpfHe^and not fufferd to do good in quiet , or to compound for their filence whom yon ha've obligd. Tet ^ I confefs , I nei' ther am nor ought to be furpri%d at this Indulgence \ for your Lord/hip ha^ the fame right to fa'uour Poetry which the Great and "Noble ha<ve e^er had. -
Revisiting Cleopatra Through Feminist Lens
===================================================================== Language in India www.languageinindia.com ISSN 1930-2940 Vol. 19:6 June 2019 ==================================================================== Revisiting Cleopatra through Feminist Lens Dr. Sneh Lata Sharma Assistant Professor Department of English Chaudhary Bansi Lal University Bhiwani [email protected] ================================================================= Abstract Cleopatra is one of the most remarkable women that have survived through generations of human history, which has been more or less man-history. A monarch, who governed over her people for around twenty years, is considered, through historical anecdotes, no more than a royal courtesan who managed to save her career through her association with great generals of Roman empire. Following suit, the literary artists have not lagged behind; they also portray her as a seductress and a heroine of a love tragedy, the onus of which lay in her fatal flaw of inconsistency in consistent coquetry. However, recent researches reveal that Cleopatra was not a woman of great feminine charm and multifarious factors contributed to her success. The present paper attempts an analysis of Cleopatra as depicted in William Shakespeare’s Antony and Cleopatra (1606) through the feminist lens of counter-historical perspective. The objective of the paper is to explore the alternate histories of her fictional image in the classic tragedy. Keywords: Cleopatra, monarch, seductress, coquetry, sexuality, inconsistency, gaps, power, counter- history, gender. Cleopatra (69-30 B.C.) was the queen of Egypt for twenty years. Generally known as ‘the Jewel of the Nile’, she is one of the most fascinating women of the world, a woman whom no man could resist. No doubt, she is an inexhaustible topic of discussion for historians, litterateurs and artists.