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The 2015 WEI International Academic Conference Proceedings Vienna, Austria THE DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE Dr. Hussein A. Alhawamdeh Assistant professor of English literature and criticism Jerash University Jarash-Jordan Abstract This paper, examining the legacy of the Roman Empire on Renaissance and Restoration thought, sets forth a different dramatic perception of the Roman heritage. Whereas the Renaissance idealized and mystified the cultural and imperial impact of the Roman Empire as a morally political institution, the Restoration—represented by the drama of John Dryden—demythicized and demonized the Roman heritage as corrupted by colonization and antagonism to the East. In his play All for Love (1678), which adapts William Shakespeare’s Antony and Cleopatra (1607), John Dryden attacks the Roman imperial role in the East (Egypt), omits Octavius Caesar from the play, and elevates the virtue of Cleopatra. Also, in his play Tyrannick Love (1669), Dryden impugns the tyranny of the Roman Emperor, Maximin, to his family, to the Roman state, and to the conquered Alexandria. For Dryden, the Roman model of Empire does not establish religious freedom nor foreground trade relations with the East. In other words, Dryden’s drama reflects the anticipated role of Restoration England as a partner of commerce rather than colonizer to the East. For Dryden, commerce and tolerance rather than colonization achieve prosperity and development. In Dryden’s two plays—namely, All for Love (1678) and Tyrannick Love (1669)—the Roman emperors Caesar in All for Love and Maximin in Tyrannick Love (1669) act as foil characters to King Charles II. Dryden’s drama deconstructs the stereotypical representation of the morally corrupted eastern woman vs. the chaste western femininity. In Dryden’s drama, Cleopatra is dramatized as a virtuous queen. Dryden’s Cleopatra deconstructs the Shakespearean delineation of Cleopatra as a whore and morally corrupted and changes the Shakespearean fascination with the Roman Empire. Whereas the Shakespearean Caesar is a wise conqueror, Dryden’s Caesar is a tyrant dictator. Keywords: Orientalism, Postcolonialism, Renaissance and Restoration drama. The West East Institute 37 .

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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.
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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.
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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.
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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.
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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".
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Tragic Love Stories”
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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.
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The Changing Face of Fortune in Six English Versions of the Tragedy of Antony and Cleopatra
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360 ° Series
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