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Books : Literature & Fiction : Drama : Playwrights, A-Z : ( D )
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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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New Mermaids are modernized and fully-annotated editions of classic English plays. Each volume includes:
• The playtext, in modern spelling, edited to the highest bibliographical and textual standards
• Textual notes recording significant changes to the copytext and variant readings
• Glossing notes explaining obscure words and word-play
• Critical, contextual and staging notes
• Photographs of productions where applicable
• A full introduction which provides a critical account of the play, the staging conventions of the time and recent stage history; discusses authorship, date, sources and the text; and gives guidance for further reading.
Edited and updated by leading scholars and printed in a clear, easy-to-use format, New Mermaids offer invaluable guidance for actor, student, and theatre-goer alike.
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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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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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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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"The Indian Emperor"This 1665 stage play written by English Poet Laureate John Dryden, revised in 1667, has been adapted to modern play format and combined with additional materials by screenwriter/author Suzanne Alexander. "The Indian Emperor" is a dramatic heroic rhyme play structured in five acts, and while not historically accurate, it provides an interesting look into the 1519 conquest of Mexico by Hernando Cortez.
Dryden chose to craft a love story between Montezuma’s daughter Cydaria and Cortez with a supporting cast of characters that includes a scheming set of siblings of the deceased Queen, a noble son of Montezuma and his less noble brother, and a host of warriors, ghosts, and Spanish soldiers. Also included are Dryden’s Epistle Dedicatory, Prologue, Epilogue, Cast List, Preface, and Defense of an Essay of Dramatic Poesy, written in response to criticism of his dramatic rhyme style.
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A facsimile edition of Dryden's famous essay preceded by a dialogue on poetic drama by T. S. Eliot. This is a very rare work.
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Volumes V and VI concern Dryden's most involved labor: the complete translation of Virgil into English. Volume V contains The Pastorals and The Georgics in their entirety; the first six books of The Aeneid is contained as well.
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Volume XV contains three of Dryden's Plays, along with accompanying scholarly appartus: Albion and Albanius, Don Sebastian, and Amphitryon.
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For the first time since 1695, a complete text of De Arte Graphica as Dryden himself wrote it is available to readers. In all, Volume XX presents six pieces written during Dryden's final decade, each of them either requested by a friend or commissioned by a publisher. Two are translations, three introduce translations made by others, and the sixth introduces an original work by one of Dryden's friends.
The most recent version of De Arte Graphica, Saintsbury's late nineteenth-century reissue of Scott's edition, based the text of the translated matter on an edition that was heavily revised by someone other than Dryden. In fact, only one of the pieces offered here, the brief Character of Saint-Evremond, has appeared complete in a twentieth-century edition. The commentary in this volume supplies biographical and bibliographical contexts for these pieces and draws attention to the views on history and historians, poetry and painting, Virgil and translation, which Dryden expresses in them.
Many other volumes of prose, poetry, and plays are available in the California Edition of The Works of John Dryden.
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