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Durham E-Theses Durham E-Theses Studies in the heroic drama of John Dryden Blyth, Michael Graham How to cite: Blyth, Michael Graham (1978) Studies in the heroic drama of John Dryden, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/8000/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Studies in the Heroic Drama of John Dryden Thesis submitted to the University of Durham for the degree of Ph.D. by Michael Graham Blyth The copyright of this thesis rests with the author No quotation from it should be published without his prior written consent and information derived from it should be acknowledged 2rsity of Durham Tiber 1978 Acknowledgements My sincere thanks go to the following for their invaluable assistance: Dr. Ray Selden, Durham University English Department, who has given a great deal of his time and critical energy to supervising my work in all stages of its development; Mr. Brian Primmer, Music School,Durham University, for allowing me to discuss ideas for my first chapter with him; Professor T.W.Craik, Durham University English Department for his unfailing co-operation. I should also like to thank the inter-library loan departments of Durham and Liverpool Universities' Libraries for their services. Of the many others who have contributed indirectly to the development of this thesis, I should like to mention the Reverend W.G.Roe, Dr. John S.Munro, and the Brothers of the First Order of the Society of St Francis at Alnmouth, Northumberland. Elisabeth, my wife, has been a constant source of patience, support and encouragement. I am also very grateful to Mrs. Rita Hart, who typed the manuscript, and entertained me with some very original views on Dryden. December 1978, University of Durham Table of Contents Page Critical Introduction 1 Chapter 1: 'The Operatic Principle and the Heroic Play' 41 Chapter 2: 'The Royal Actor' 94 Chapter 3 : 'Dryden's Festive Wit, and the Bizarre in Tyrannick Love' 166 Chapter 4: 'The Conquest of Granada, and the Love-and-Hohour Debate' 227 Chapter 5: ' "Why was my reason made my passion's slave?": Aureng-Zebe and the Use of the Passions' 285 Chapter 6: 'The Achievement of All for Love' 347 Chapter 7: 'The Decline of Madness on the Restoration Stage' 437 Chapter 8: 'The Question of the Denouement, and the Prevailing Mood of the Heroic Plays' 487 List of Abbreviations 521 Bibliography 522 Studxes in the Heroic Drama of John Dryden Abstract John Dry-den's heroic plays present unique problems to the literary critic because they combine the conscious artifice of literary form with the exuberant zest of the native tradition of English drama. While it is undeniable that Dryden used the plays to explore a number of critical problems, viz., the nature of the imagination, the uses of wit, and the portrayal of the passions, it is also essential to realize that he was writing deliberately 'popular' drama. The Restoration heroic play is thus a compromise between the individual tastes of the poet and the fashions of his audience; Dryden's plays therefore contain flashes of self-parody which are manifested in scenes of satiric imbalance and the 'grotesque1 I have approached the five major heroic plays from the varying points of view suggested by the dramatic conventions of the period; briefly, these are opera, satire, panegyric, wit, 'the grotesque', the 'passions', and the denouement. By examining the application of particular stylistic effects to certain scenes of debate or confrontation, it is possible to locate more precisely the areas of permitted ambivalence in Dryden's plays. In charting the development of Dryden's dramatic technique from The Indian Queen to All for Love, we can see how a 'mixed heroic' style became increasingly important in his manipulation of audience response, and how the heroic play, for all its eccentricities, could be developed as a drama of participation. In evaluating the plays I have made special provision for a discussion of their effectiveness as theatre, without neglecting the critical questions which often underline their structure. Dryden emerges from this study as perhaps more of an innovator than he is often given credit for; in his heroic drama he practised freedoms of style which he was less able to indulge in formal panegyric or polemical satire. The heroic plays are representative of crucial developments in Dryden's attitude to the heroic in life, and as such they provide a fascinating testimony to the receptivity of Dryden's mind. As social dramas the plays contain an illuminating critique of Restoration morals and philosophy and illustrate Dryden's growing capacity for harmonizing the discrepant. A close study of the texts reveals a surprising diversity of tone, for which we may have to devise subtler and more penetrating critical modes. Balanced between levity and seriousness, Dryden's theatre deserves fuller recognition for its festive reconciliation of the sophisticated and bizarre. Abbreviations Abbreviations used throughout; CD (California Dryden) : John Dryden,The Works,ed.E.N.Hooker, H.T.Swedenberg Jnr.,et al.,Vols.1-IV, VIII-X, XV, XVII-XVIII,Berkeley(1956-76). SS (Scott-Saintsbury) : John Dryden,The Works,Ed.W.Scott, revised G.Saintsbury,8 vols., Edinburgh (1882-84). W (Watson,George) : John Dryden,Of Dramatic Poesy and Other Critical Essays ,~ed .G .Watson, 2 vols. (1971) L (Link,Frederick M.) : John Dryden,Aureng-Zebe,ed.F.M.Link, (Regents Restoration Drama),(1971). V (Veith,David M.) : John Dryden,All for Love,ed.D.M.Veith, (Regents Restoration Drama),(1972). King (Bruce) : Bruce King,Dryden's Major Plays, Edinburgh and London (1966) . Spmgarn : J.E. Spingarn (ed.), Critical Essays of the Seventeenth Century, 3 vols .,~~(1908) . Abbreviations used in specific chapters: Chapter 2 . MM (Marvell-Margoliouth): Andrew Marvell,The Poems and Letters, ed.H.M.Margoliouth,(1952),Vol.I. Chapter 4. EM (Ephesian Matron) : Walter Charleton,The Ephesian Matron, intro.A.Gulbbory,Augustan Reprint Society Publication Nos.172-73, Los Angeles (1975). RCP (Repartees of Cat and Puss) : Samuel Butler,Repartees of Cat and Puss in Hudibras Parts I and II and Other Selected Writings,ed.J.Wilders and H.de Quehen,(1973),pp.223-226. Critical Introduction In recent years it has become apparent that the traditionally accepted generic terms 'heroic play1, 'heroic tragedy' and 'rhymed heroic play' are singularly inadequate in evoking the richness of texture to be found in Dryden's plays. Now that Dryden's long-neglected drama has received the critical attention it deserves, the need has become even greater to establish a critical terminology equipped to deal with modes of contrast and expression not accounted for by the stricter generic assumptions of Restoration aesthetic theory. Although Dryden argued persuasively that the heroic play was modelled on the laws of an heroic poem, in practice it was clearly much more than that. Rather, it was a curious amalgam of genre and counter- genre, giving rise to a 'mixed style ' with a sophisticated awareness of its own antithetical tendencies. It was a drama perhaps more self-conscious and allusive than that of any other period in British theatre. In an article of seminal importance, Robert S. Newman has called attention to the area in which Dryden's plays still perturb the modern scholar. Most striking, he finds, is the failure of modern critics to "deal adequately with the problem of dubious tone in the heroic plays and with methods for resolving disagreements over tone""'". Certainly within the last 50 years the work of such eminent critics as D.W. Jefferson, Bruce King, and Arthur C. Kirsch has done much to extend our •R.S.Newman, 'Irony and the Problem of Tone in Dryden's Aureng-Zebe,' SEL, X (1970), 440. 2 receptivity to the range of styles and tonal harmonies in the plays, particularly since Jefferson first identified the comic 2 element of grotesque which permeates them . But Dryden's text can admit of still closer examination. Such study is bound to be dogged by the specific problems raised by a Dryden text: although it comes down to us with very few corruptions it is evident that much of Dryden's work is hurried and clumsy, and that insipid writing may exist side by side with sparks of intellectual subtlety which constantly reflect the 'literariness' of the dramatist's manner. The chief danger in exploring the intellectual milieu surrounding the plays lies in the temptation to perform a species of literary autopsy rather than offer a constructive critical approach. The crucial challenge m Dryden's drama is to relate its detached literary artifice to a tradition of lively and spontaneous theatre, stretching back to the Elizabethan period, and which the Restoration audience enjoyed no less flamboyantly. On the printed page Dryden's formal and statuesque qualities can appear pressmgly obvious, while we tend to forget that his, like any other, is a drama o f partIC ipat ion .
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