Abstract When the Restoration occurred in England, there were virtually no new stage plays. The writers went back to old works, such as Anthony and Cleopatra. The paper shows how Dryden's "All for Love" returns to analyzing the romantic hero. This essay explicates Dryden's character, Anthony, and shows his strengths and weaknesses.
From the Paper "The drama of the Restoration was marked by a return to classical conventions. Settings, stories, characters, and time unity were predicated on dramatic elements drawn from ancient Greece and Rome. Restoration authors drew their inspiration from those dramatic elements, but unlike the English playwrights from earlier eras, they "wrote for a new age with values quite unlike those of the Elizabethans" (Wilson 170). One of these Restoration ideals was the romantic hero. John Wilson describes this hero as "mighty in war but helpless before their mistresses, true 'slaves of love' in the tradition of pastoral and romantic romance" (xii). An example of this romantic hero is John Dryden's Marc Antony."
Tags: 18th, century, dryden, literature, play, restoration, theater, theatre
Abstract This paper is a critical review of a NASA monograph including an overview of Hugh L. Dryden's life and career in aviation and space. The author points out his accomplishments. The paper reviews the technology, ethical issues and social problems raised by the monograph.
From the Paper "This page monograph available from NASA details the life and career primarily the career of Hugh Dryden Dryden was a precocious scientist who earned a Ph. D. from Johns Hopkins at ..."
Tags: hugh dryden, aerospace, aviation history, NASA
Abstract This paper analyzes the poem, "Absalom and Achitophel", by John Dryden, in which the Whigs and their leader, the Earl of Shaftsbury, attempt to overthrow King Charles II by means of the scandalous popish plot. By exposing Slingsby's personal vices of deception and greed, Dryden's satire attempts to persuade the people that the Whigs are unfit for rule and of the guilt of their leader, the Earl of Shaftsbury. The author of this paper looks at the satire within the poem and discusses the historical themes of law and metaphorical references to the bible throughout the paper. The paper asserts that Dryden utilizes biblical characters to represent members of the conspiracy. Furthermore, by the use of satire, Dryden exposes the vices of deception and greed for money and power within Bethel's personality. Ultimately, the paper states that Dryden successfully demonstrates the complete failure of the Whigs leadership abilities and the Popish Plot.
From the Paper "Another example of Slingsby Bethel's vice of depiction and greed is in his inability to uphold the law. First, we must recall the popular neoclassic belief about Law as defined by Thomas Hobbe. In the biblical story of Adam and Eve, mankind's innocence is tragically disregarded by a moment of self-will, thus sealing mankind's natural instinct of selfishness and greed. Therefore, laws were created to keep mankind's natural instinctual yet destructive vices of deception, selfishness, and greed in check. In short, laws are regarded as good. There are two examples of Dryden's indictment of the sheriff's callousness to Hobbian Law. The first example of reckless abandonment of the law is demonstrated in the following passage; 'His hand a vare of justice did uphold; His neck was loaded with a chain of gold' (595). In these lines, the sheriff seemingly upholds justice. However, he is chained by the wealth of the Whigs which provides him 'gold' far behind his means. The sheriff is bribeable, which leaves the law unstable and for sale. Also, Bethel is not autonomous in his duties; he is collared by a gold chain held firmly by the Whigs. Perhaps a better example is demonstrated when Dryden explores Slingsby's philosophy on the law. 'For laws are only made to punish those who serve the king and to protect his foes' (610). This line clearly shows Slingsby's selective use of the law. The sheriff believes laws only apply to the loyal Torries, not the disloyal Whigs. Therefore, the sheriff and the Whigs are above Hobbian law, leaving them guilty of sin, without morality, and incompetent to rule."
Abstract The neo-classical age in which both John Dryden and Jonathan Swift penned their most noteworthy prose is often also called ?The Age of Reason.? However, although this valorization of reason and rationality may be a fair characterization of much of the Age of Human Enlightenment, Dryden and Swift do not deploy nor valorize reason in the same fashion. This paper shows that, for Dryden, reason is the key to humanity's connection with the Divine and political freedom. In comparison, it shows that, in Swift's social and religious satires, human confidence in its rationality is just as absurd as overconfidence in human religious, political, and social institutions to create just and fair societies.
From the Paper "Again, reason is the highest and best form of creation, and the parallel political figures satirized and defamed within the poem are those who are irrational and bad, rather than irrational and good. Dryden has faith in the concrete actions of God, where, ?Heav'n punishes the bad, and proves the best.? (44) In the Biblical account of King David the poet dramatizes in the poem, the justice of God is rational, and thus good, as opposed to the irrational modes humans deploy on occasion to understand God, and the irrational and lustful actions of some Biblical figures. Ultimately, in the last sentence of the poem, David is restored to the throne because he is "God-like" in his goodness.?"
Abstract This paper examines how, in his poetic works of "MacFlecknoe" and "Absalom and Achitophel", John Dryden focuses on the idea of coronation to degrade his satirical target. It looks at how "MacFlecknoe" centers around the crowning of a new "king of bad writing", whereas "Absalom and Achitophel" satirizes the very realistic predicament of a threat to the English crown. It also explores how, during the 18th century in England, the folk custom of carnival was very popular and how Dryden derived his royal satires from these traditional English carnivals.
From the Paper "Dryden was no doubt familiar with these carnivals of misrule (Combe 5). During the observance of Twelfthtide in England, the carnival was in full swing; "Dating from at least the twelfth or thirteenth century, a Lord of Misrule was commonly appointed to oversee the Chistmastide revels at the royal court, in noble households, in various municipalities, at the universities, and at the London law schools" (Combe 5). The Christmastide carnival at the Inns of court was probably the most influential to Dryden, for it was the most complete ritualistic carnival at the time (Combe 6). During this carnival, a Lord of Misrule was crowned, termed the Christmas prince; the carnival began on December 21, and the disorder lasted for about four weeks (Combe 6)."
A review of Dryden's "All for Love" as an embodiment of the critical concepts of his "Of Dramatic Poesy: An Essay" and a discussion of how they are an imitation of William Shakespeare's "Anthony and Cleopatra".
1,150 words (approx. 4.6 pages), 7 sources, 2002, $ 44.95
Abstract This essay will examine Dryden's "All for Love" (1677) and his "Of Dramatic Poesy: An Essay" (1668). It will be argued that the former play may be seen as the embodiment of Dryden's critical reflections on the issues noted in the above passage. In "All for Love", as will be seen, Dryden attempts to assimilate the legacy of the Elizabethan stage - in this case, Shakespeare's "Anthony and Cleopatra" - into an age dominated by French critical theories. However, as will be seen, Dryden often contradicts his own earlier critical thinking, particularly with respect to the proper language of the theater. This suggests that a true analysis of Dryden's critical thinking must incorporate his dramatic practice into his critical theory.
Abstract The paper analyzes "Ode to St. Cecilia's Day", a poem written by John Dryden which celebrates the feast-day of Saint Cecilia on November 22, as well as the majesty of music. The paper shows that music is a heavenly treat that leads to celestial harmony and the mystery of music is clarified through Dryden's use of metaphor and personification. The paper discusses how in different stanzas, Dryden lends various instruments individual qualities according to their particular sounds. It shows how these instruments become metaphors for human passions and for the wonders of nature.
From the Paper "Throughout the ?Ode to St. Cecilia's Day,? John Dryden personifies music in general and instruments in particular. From the second to the sixth stanza, Dryden outlines the specific qualities of certain instruments. Stanza 2 is devoted to Jubal's corded shell. Alluding to the biblical character of Jubal, Dryden further exemplifies the divine nature of music. The corded shell ?spoke so sweetly and so well,? (line 23). The music that emanates from Jubal's shell has the power to "raise and quell" any human passion (line 24). Because the poet chooses verbs regularly delegated to the realm of human experience, music becomes anthropomorphised. Furthermore, because these verbs tend to be uplifting in nature, music becomes deified."
Abstract This paper compares Dryden's Achitophel, from his much celebrated political allegory ?Absalom and Achitophel,? with Keats? nightingale, from the first of his famous May odes, "Ode to a Nightingale". Several common characteristics, such as their profound psychological influence over others are outlined.
From the Paper "In Dryden's work, Achitophel, the symbolic representation of the Earl of Shaftesbury, gains the ear of David's ambitious son Absalom (i.e., Charles II's illegitimate progeny, the Duke of Monmouth). Achitophel encourages Absalom to believe that he could be and should be David's rightful successor to the throne. Of course, for many in Dryden's time, including Dryden himself, there remained the idea of the ?Divine Right of Kings,? and it would therefore be the sole choice of a leader to choose his successor, no questions asked. Any attempt to manipulate or influence that process would be nothing short of high treason, hence the poem and its allegorical re-telling of the scandal that rocked the English government in 1680."
Abstract This paper will discuss "Alexander's Feast" by John Dryden, and will explore the symbolism and metaphor within the text. By understanding how music plays a major part of this poem, we can see symbolic and metaphorical value in this theme.
Abstract This paper will discuss "Alexander's Feast" by John Dryden and will explore the symbolism and metaphor within the text. By understanding how music plays a major part of this poem, we can see symbolic and metaphorical value in this theme.
Abstract Alexander Pope's work, "An Essay on Criticism", takes the form of a two-part poem. John Dryden's "An Essay on Dramatic Posey" takes the form of an extended dialogue between four characters. This paper explains that the "essays" attempt to formulate critical theories about the proper methodology of poetry and poetic drama, while at the same time, these writers and critics attempt to create artistic works of their own in the process. It examines how, in doing so, both men's works highlight how the 18th century English poetic and prosaic style of a highly rationalistic, argumentative, and logical artistic approach, often defined as "Neo-Classical", could easily be elided with criticism. In other words, art could more easily critiqued in a linear fashion in the Neo-Classical style.
From the Paper "Long before the structuralists ever attempted to define what constituted the proper way of conceptualizing the narrative art, long before the deconstructionists ever wrote about the socially constructed nature of gender, long before the New Historicists attempted to reconfigure the relationship between text and historical context, the authors Alexander Pope and John Dryden penned their own theories of literary criticism for a far wider audience in their native England. But although both called their works essays, neither authors? central critical text takes the form of a theoretical or critical essay upon the literary art of poetry, prose, and drama."
Abstract This paper discusses how both Milton's 'Paradise Lost' and Dryden's 'Absalom and Achitophel' reflect similar methods in showing the temptation of their characters. Though numerous similarities exist, the temptation scenes from the poems seem to be most common in two ways: the techniques and language used by both tempters the serpent and Achitophel and the actions and reactions of the tempted characters, Absalom and Eve. The bath further discusses how during both of these the use of Biblical description and language as well as commentary on God's word is also present in both.
From the Paper "Through the examination and comparison of these areas it is easy to establish the connection in pervasive and effective verse incorporated into both poems. Both Achitophel and the serpent are highly persuasive during the temptations. Both call upon the vanity of their subject, calling them royal names and flattering them."
Abstract This paper examines the evolution in English literature through the 18th century in terms of style. The paper first describes how the century started with neo-classicism and ended with romanticism and explains that the latter can be seen as a revolt against the former. Neo-classicism is shown to be influenced by the rise of science, and the liberation in the arts brought about by the Restoration. The paper then charts how there is a gradual breaking away from the shackles of rationalism through the 18th century. The authors studied are Wycherley, Dryden, Pope, Gray, Burns, Blake, Richardson, Fielding and Bunyan.
From the Paper "Even though tending towards popular sentiment, much of the literature accounted for so far remained beyond mass readership. The first widely popular book was John Bunyan's The Pilgrim's Progress. The Puritans suffered suppression and imprisonment since the Restoration. Bunyan composed the book in prison, an allegorical account of life's journey, with Biblical significance. It too employed the simplicity of style that characterized the age, even though it stood up against the general trend. To sample the sparse simplicity, the pilgrims encounter the allegorical place of vane worldliness thus: "Then I saw in my dream, that when they were got out of the wilderness, they presently saw a town before them, and the name of that town is Vanity; and at the town there is a fair kept, called Vanity Fair: it is kept all the year long" (Bunyan, 1965, p. 105). Journalism was the other route to the heart of the people. "
Abstract This paper discusses the evolution of drama and theatre in Europe and their development in the Restoration era. The paper includes examples of European poets and playwrights of the 18th century.
From the Paper "The theaters established in the wake of Charles It's return from exile in France and the restoration of the monarchy in England (1660) were intended primarily to serve the needs of a socially, politically, and aesthetically homogeneous class. At first they relied on the pre-Civil War repertoire; before long, however, they felt called upon to bring these plays into line with their more "refined," French-influenced sensibilities. The themes, language, and dramaturgy of Shakespeare's plays were now considered out of date, so that during the next two centuries the works of England's greatest dramatist were never produced intact."
Abstract The paper shows that the English stage during the late 17th century was a time of rebuilding, and also a time of creation. There were many different ideas on what theatre should be and it was very common for one person to have an idea, and as soon as it was known, opposing ideas were quickly published, followed by various defenses of the original idea. The paper discusses several people who were well known for their opinions from that time period, including Jeremy Collier, John Dryden, Alexander Pope, William Congreve and William Stubbs.
From the Paper "When the Stuart Dynasty returned to the throne of England in 1660, the playhouses were reopened. In August, Charles II issued patents for two companies of players, and performances immediately began. However, theatre had evolved a bit. The Royalty and the Nobility, as well as a few independent companies now owned theatrical troupes. Often the ones that had permanent theatres such as Convent Garden, Drury Lane and Dorset Garden had Noble backers to provide for the upkeep. Costumes were often second hand garments that the nobility no longer desired. Slowly the better-kept theatres became places to see and be seen. Often what was going on in the auditorium was just as much, or more interesting then what was on stage. The style of the playwriting was of a lesser form then that of the Elizabethan plays. It frequently utilized stereotypes and stock characters."
Tags: Elizabethan, Heroic, Stanzas, The, Old, Batchelor, An, Essay, on, Criticism
