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Books : Literature & Fiction : Authors, A-Z : ( D ) : Dryden, John
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Plutarch's Lives, written at the beginning of the second century A.D., is a brilliant social history of the ancient world by one of the greatest biographers and moralists of all time. In what is by far his most famous and influential work, Plutarch reveals the character and personality of his subjects and how they led ultimately to tragedy or victory. Richly anecdotal and full of detail, Volume I contains profiles and comparisons of Romulus and Theseus, Numa and Lycurgus, Fabius and Pericles, and many more powerful figures of ancient Greece and Rome.
The present translation, originally published in 1683 in conjunction with a life of Plutarch by John Dryden, was revised in 1864 by the poet and scholar Arthur Hugh Clough, whose notes and preface are also included in this edition.
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Aeneas, legendary survivor of the fall of Troy and father of the Roman race, is the hero in this archtypal story of dispossession and defeat, love and war, in which Virgil portrays human life in all its nobility and suffering. 6 cassettes.
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In 336 b.c. Philip of Macedonia was assassinated and his twenty-year-old son, Alexander, inherited his kingdom. Immediately quelling rebellion, Alexander extended his father’s empire through-out the Middle East and into parts of Asia, fulfilling the soothsayer Aristander’s prediction that the new king “should perform acts so important and glorious as would make the poets and musicians of future ages labour and sweat to describe and celebrate him.”
The Life of Alexander the Great is one of the first surviving attempts to memorialize the achievements of this legendary king, remembered today as the greatest military genius of all time. This exclusive Modern Library edition, excerpted from Plutarch’s Lives, is a riveting tale of honor, power, scandal, and bravery written by the most eminent biographer of the ancient world.
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Describes the legendary origin of the Roman nation.
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Dryden's audiences in 1671, both aristocratic and middle-class, wouldhave been quick to respond to the themes of disputed royal succession,Francophilia and loyalty among subjects in his most successfultragicomedy. In the tragic plot, written in verse, young Leonidas hasto struggle to assert his place as the rightful heir to the throne ofSicily and to the hand of the usurper's daughter. In the comic plot,written in prose, two fashionable couples (much more at home in Londondrawing-rooms than at the Sicilian court) play at switching partners inthe 'modern' style. The introduction of this edition argues thatDryden's own ambivalence about King Charles and his entourage, on whomhe came to rely more on more for patronage, manifests itself in bothplots; most of all perhaps in the excessively Francophile Melantha,whose affectation cannot quite hide her endearing joie-de-vivre.
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Cleopatra. I Am No Queen: Is This To Be A Queen, To Be Besieged By Yon Insulting Roman, And To Wait Each Hour The Victor's Chain? These Ills Are Small: For Antony Is Lost, And I Can Mourn For Nothing Else But Him. Now Come, Ctavius, I Have No More To Lose! Prepare Thy Bands.
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Dryden, a fervent royalist throughout the Civil War and the regicide, raised satire to an art of great delicacy. His devastating account of political incompetence in the Popish Plot, "Annus Mirabilis," is perhaps his greatest work; this edition includes among other writings his courageous vindication of the king, "Absalom and Achitophel," as well as his hilarious attack on mediocre poetics in "Mac Flecknoe."
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In the last decade of Dryden's life, he brought four new works before the theatre-going public: a dramatic opera, a tragedy, a tragicomedy, and a number of appendages to an old comedy by John Fletcher, which was revived partly so that Dryden might have the author's third-night profits. He died that night, but his family received the money. The dramatic opera, King Arthur, benefited from a fine score by Henry Purcell and has remained in the operatic repertoire to this day. Cleomenes, the tragedy, was banned until Dryden was able to convince Queen Mary that it did not reflect any seditious sympathy with the exiled James II, after which it was successful. The fate of Love Triumphant, the tragicomedy, was different; possibly because of a growing swell of moral reform, the play was universally damned, even though its themes of incest and miscellaneous fornication had never brought rejection to Dryden in the past. The Secular Masque, Dryden's principal contribution to The Pilgrim by Fletcher, had undistinguished music, but its lively verse and broad review of the previous century kept the piece on the stage for the next fifty years, and in anthologies up to the present.
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Edited by Charles W. Eliot. Contents: Introduction; Dedication of John Dryden; Books 1-12 of the Aeneis; Postscript.
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This volume contains Dryden's 1684 translation of Louis Maimbourg's "The History of the League," a work relating to the religious wars of France in the preceding century, and which Dryden used as a commentary on the religious persecutions of his own time in England.
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Dryden's last three years of published works begin with Alexander's Feast and end with Fables, his largest miscellany of poetical translations. Alexander's Feast, like the earlier Song for St. Cecilia's Day (Works, III), was commissioned by the Musical Society for performance at its annual tribute to sacred music. The Fables included selections from Homer, Ovid, Boccaccio, and Chaucer. Extensive and detailed notes to these translations show readers how well Dryden succeeded in transmitting the styles and the very sounds of his originals. Volume VII ends with a section of miscellaneous pieces published at other times, including Dryden's only known Latin work. The presentation of the writings in this volume, like that of the entire twenty-volume series, is a tribute not only to Dryden but also to the editors who have guided it through five decades.
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A perceptive inquiry into Dryden's controversial religious masterpiece.John Dryden (1631-1700) is one of the handful of writers who form the first rank of England's literary pantheon. His works are characterized by intellectual daring and vigor, as well as by imaginative splendor and stylistic polish. In addition to his celebrated works, Dryden wrote what is arguably the greatest poem of all times about the Catholic Church-The Hind and the Panther (1687). The result of his conversion to Catholicism, Dryden's poem honors his newfound church as the immortal Bride of the heavenly Bridegroom. Though his longest original poem, it remains the least understood of all his major works.
Ridiculed because of its unprecedented representation of the different churches in England as animals-in particular, for its portrayal of the Catholic and the Anglican Churches as the Hind and the Panther, respectively-the poem was dismissed as a failure. The exact political context also eluded scholars. In this volume, Anne Barbeau Gardiner offers a compelling analysis of Dryden's masterpiece and, for the first time, convincingly argues that his poem was a unified defense of ancient faith and a plea for modern religious freedom.
In Part I of the book, Gardiner reveals the ancient source of Dryden's design: the biblical book that celebrates the love of Yahweh for his Bride Israel, Solomon's Canticle of Canticles. In Part II, she explains how Dryden's poem participated in the campaign to repeal the Test Act against Catholics and Dissenters in England. Gardiner illustrates how the issues of the political-religious debate drive Dryden's poem, and reveals Dryden's call for modern civil rights and freedom of worship.
"Gardiner's reading of Dryden's strangely baffling fable on animal rights (and wrongs) gets it right. . . . It is the timeliest of cases for 'Glorious John.' "-Professor George McFadden, Temple University
Anne Barbeau Gardiner is professor emeritus of English at John Jay College, C.U.N.Y. She is the author of The Intellectual Design of John Dryden's Heroic Plays.
"At last a learned commentary on The Hind and the Panther from Dryden's point of view."-Professor Frank H. Ellis, Smith College
"Gardiner's combination of keen intellect and profound Roman Catholic belief makes her uniquely qualified to interpret The Hind and the Panther. Her reading of Dryden's poem will not soon be superseded."-Professor Emeritus David Vieth, Southern Illinois University
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This selection of Dryden's works is drawn from the full range of his poetry and prose and is arranged chronologically. Individual works, such as the famous satires MacFlecknoe and Absalom and Achitophel , appear in their entirety. A number of Dryden's translations are also represented, including his full versions of Homer, Horace, and Ovid, and substantial selections from his translations of Virgil, Juvenal, and other classical writers. Keith Walker has provided a modernized text of the first editions with commentary on classical and contemporary references for the modern reader.
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Marriage and its discontents lie at the heart of Restoration comedy. In all four of the great plays gathered here, a married woman confronts her would-be seducer. Each dramatist, however, totally reinterprets the situation. Thomas Otway's The Soldier's Fortune converts adultery into political revenge. Nathaniel Lee's The Princess of Cleves offers a potent and perplexing portrait of a libertine in action at the sixteenth-century French court. John Dryden's Amphitryon, set in ancient Thebes, retells the story in which Jupiter lures the virtuous Alcmena into cuckolding her husband by a stratagem that throws into doubt the very nature of human identity. Thomas Southerne's The Wives' Excuse reinvents, for the new circumstances of the 1690s, the familiar Restoration plot of a wife spurred towards infidelity by her partner's failings. All of the plays have been newly edited and are presented with modernized spelling and punctuation.
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Not So The Rest; For Several Mothers Bore To Godlike David, Several Sons Before. But Since Like Slaves His Bed They Did Ascend, No True Succession Could Their Seed Attend. Of All This Numerous Progeny Was None So Beautifull, So Brave As Absalon.
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The Aeneid is the great epic of empire - Virgil's masterful reinterpretation of Homer, designed for a new age of Roman domination. John Dryden, the poet laureate of the later 17th century, translated this epic for his own generation, and in doing so produced one of the most elegant, muscular and aphoristic translations ever written. A new introduction sheds light on the cultural and political context of Dryden's translation and comes to grips with the two-thousand year old controversy surrounding the hero, Aeneas' departure from the underworld in Aeneid 6. Unusually for a work of this kind, the text is presented in a reader-friendly format,with generous space for personal annotations and references. Robert Shorrock teaches Classics at Eton College, Windsor. He received his PhD from the University of Cambridge in 1999 and is the author of The Challenge of Epic: Allusive Engagement in the Dionysiaca of Nonnus (Leiden, 2001). He has published a number of articles on epic poetry and the Classical Tradition, and is co-editor of the journal Greece & Rome.
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'Something greater than the Iliad is being brought to birth', wrote Virgil's contemporary Propertius, in Western literature's most famous flourish of advance publicity. The Aeneid was published after Virgil's death, and at once established itself as Rome's national poem. The hero Aeneas flees from the sack of Troy, and after much suffering carves out a foothold for the future Romans in Italy. While defining and celebrating what it means to be Roman, the Aeneid confronts, with a bleak pathos, the tragedy involved in Rome's destiny.