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John Dryden (1631–1700)

Author of All for Love

314+ Works 2,575 Members 27 Reviews 10 Favorited

About the Author

Born August 9, 1631 into a wealthy Puritan family, John Dryden received an excellent education at Westminster School and Cambridge University. After a brief period in government, he turned his attention almost entirely to writing. Dryden was one of the first English writers to make his living show more strictly by writing, but this meant he had to cater to popular taste. His long career was astonishingly varied, and he turned his exceptional talents to almost all literary forms. Dryden dominated the entire Restoration period as a poet, playwright, and all-round man of letters. He was the third poet laureate of England. In his old age Dryden was virtually a literary "dictator" in England, with an immense influence on eighteenth-century poetry. His verse form and his brilliant satires became models for other poets, but they could rarely equal his standard. Dryden was also a master of "occasional" poetry - verse written for a specific person or special occasion. Like most poets of his time, Dryden saw poetry as a way of expressing ideas rather than emotions, which makes his poetry seem cool and impersonal to some modern readers. Dryden also wrote numerous plays that helped him make him one of the leading figures in the Restoration theatre. Today, however he is admired more for his influence on other writers than for his own works. He died on April 30, 1700 in London. (Bowker Author Biography) show less
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Series

Works by John Dryden

All for Love (1678) 290 copies, 4 reviews
The Poetical Works of John Dryden (1995) 235 copies, 2 reviews
The Major Works (Oxford World's Classics) (1987) 161 copies, 1 review
Six Restoration Plays (1959) — Contributor — 114 copies, 1 review
Marriage à la Mode (1673) 74 copies, 1 review
The poems of John Dryden (1910) 71 copies
Dramatic Essays (2008) 44 copies, 1 review
The Best of Dryden (1933) 37 copies, 1 review
Absalom and Achitophel (1966) 37 copies, 2 reviews
Dryden (2019) 34 copies
Aureng-Zebe (1675) 22 copies, 1 review
An essay of dramatic poesy (1993) 22 copies
Five heroic plays (1979) — Contributor — 18 copies
Selected Writings of Dryden (1969) 18 copies
Choice of Verse (1973) 18 copies
John Dryden: four tragedies (1968) 16 copies
Palamon and Arcite (2012) 16 copies
Selected poetry 13 copies, 1 review
Mac Flecknoe (1970) 12 copies, 1 review
Dryden: A Selection (1978) 12 copies
Dryden Poetry and Prose (1944) 11 copies
Essays of John Dryden (2007) 8 copies
Restoration Tragedies (Oxford Paperbacks) (1977) — Contributor — 6 copies
Dryden : a selection (1978) 6 copies
The Satires of Dryden (1901) 5 copies
Sylvae (1973) 5 copies
The Hind And The Panther (2007) 5 copies
The Reluctant Spy (2013) 5 copies, 5 reviews
Oedipus : a tragedy (2010) 4 copies
Marcus Brutus (75 AD) 3 copies, 2 reviews
Pandemic (2012) 3 copies
Plays (1962) 2 copies, 1 review
Dryden - Poèmes Choisis (1946) 2 copies
John Dryden, Vol 1 (1904) 2 copies
Selections from Dryden (2016) 2 copies
Four comedies (1968) 2 copies
Aenid 2 copies
Essays On the Drama (2010) 2 copies
The Poems of John Dryden (1958) 2 copies
All of love 1 copy
The Kind Keeper (2016) 1 copy
Indian Emperor (1971) 1 copy
Poetry 1 copy
Fables (1973) 1 copy

Associated Works

The Aeneid (translations) (0029) — Translator, some editions — 26,665 copies, 229 reviews
Metamorphoses [in translation] (0008) — Translator, some editions — 15,280 copies, 113 reviews
Mary Barton (1848) — Translator, some editions — 3,013 copies, 73 reviews
Plutarch's Lives (0100) — Translator, some editions; Translator; Translator — 2,990 copies, 32 reviews
The Norton Anthology of English Literature, Volume 1 (1962) — Contributor — 2,460 copies, 8 reviews
Paradise Lost [Norton Critical Edition] (1667) — Contributor, some editions — 2,424 copies, 14 reviews
Plutarch's Lives, Volume 1 of 2 (1992) — Translator, some editions; Translator — 1,679 copies, 7 reviews
The Making of a Poem: A Norton Anthology of Poetic Forms (2000) — Contributor — 1,470 copies, 9 reviews
The Best Poems of the English Language: From Chaucer Through Robert Frost (2004) — Contributor — 1,250 copies, 3 reviews
The Georgics [translated text] (0029) — Translator, some editions — 1,155 copies, 12 reviews
Plutarch's Lives, Volume 2 of 2 (1992) — Translator — 1,079 copies, 1 review
Literature: An Introduction to Fiction, Poetry, and Drama (1995) — Contributor, some editions — 1,012 copies, 7 reviews
The Eclogues or Bucolics (translations) (0037) — Translator, some editions — 914 copies, 11 reviews
Prefaces and Prologues to Famous Books (2004) — Contributor — 617 copies, 2 reviews
English Poetry, Volume I: From Chaucer to Gray (1910) — Contributor — 614 copies
World Poetry: An Anthology of Verse from Antiquity to Our Time (1998) — Contributor — 497 copies, 2 reviews
Critical Theory Since Plato (1971) — Contributor, some editions — 436 copies, 1 review
Selected Lives (1982) — Translator — 306 copies
Restoration and Eighteenth-Century Comedy [Norton Critical Edition] (1973) — Contributor — 282 copies, 2 reviews
Restoration Plays [Everyman] (1953) — Contributor — 238 copies, 1 review
Ben Jonson and the Cavalier Poets [Norton Critical Edition] (1975) — Contributor — 237 copies, 2 reviews
Criticism: Major Statements (1964) — Contributor — 234 copies
Seventeenth-Century Prose and Poetry (1946) — Author — 227 copies, 2 reviews
Eighteenth-Century English Literature (1969) — Author — 194 copies, 1 review
Restoration Plays [Modern Library] (1953) — Contributor — 181 copies, 1 review
The Faber Book of Beasts (1997) — Contributor — 169 copies, 1 review
Twelve Famous Plays of the Restoration and Eighteenth Century (1933) — Contributor — 160 copies, 1 review
The Standard Book of British and American Verse (1932) — Contributor — 129 copies, 1 review
The Latch Key (1921) — Contributor — 121 copies, 1 review
British Dramatists from Dryden to Sheridan (1934) — Contributor, some editions — 93 copies, 1 review
Twelve Lives (2013) — Translator, some editions; Translator, some editions — 88 copies, 1 review
The Everyman Anthology of Poetry for Children (1994) — Contributor — 79 copies
Greek and Roman Lives (Dover Thrift Editions) (2005) — Translator, some editions — 78 copies
An Introduction to Poetry (1968) — Contributor — 73 copies, 1 review
A Book of Narrative Verse (1930) — Contributor — 70 copies, 1 review
Collins Albatross Book of Verse (1960) — Contributor — 63 copies
Ovid: Selected Poems (2003) — Translator, some editions — 63 copies, 1 review
Modern English Readings (1942) — Contributor — 60 copies
Poetry of Witness: The Tradition in English, 1500-2001 (2014) — Contributor — 52 copies, 1 review
Classic Essays in English (1961) — Contributor — 23 copies
Masters of British Literature, Volume A (2007) — Contributor — 21 copies
Classic Hymns & Carols (2012) — Contributor — 20 copies
Four Great Restoration Plays (1964) — Contributor — 18 copies
Five Restoration Tragedies (1941) — Contributor — 16 copies
Men and Women: The Poetry of Love (1970) — Contributor — 9 copies
Englische Essays aus drei Jahrhunderten (1973) — Contributor — 9 copies
Plutarch's Lives Volume III. (2009) — Translator — 8 copies
PLUTARCH'S LIVES - Volume 2 — Translator, some editions — 7 copies
Plutarch's Lives, Volume 3 of 5 (2009) — Translator — 7 copies
Fear! Fear! Fear! (1981) — Contributor — 6 copies
Suspense: A Treasury for Young Adults (1966) — Contributor — 6 copies
Thames: An Anthology of River Poems (1999) — Contributor — 6 copies
Covent Garden drollery; a miscellany of 1672 — Contributor — 5 copies
The unhappy favourite: (1939) — prologue & epilogue — 5 copies
An English garner : ingatherings from our history and literature — Contributor, some editions — 4 copies
Shakespeare Adaptations: The Tempest, The Mock Tempest, and King Lear (1922) — Contributor — 3 copies, 1 review
Round about Eight: Poems for Today (1972) — Contributor — 2 copies
Plutarch's Lives, Volume 2 of 5 — Translator, some editions — 1 copy

Tagged

Common Knowledge

Members

Reviews

39 reviews
I'm not sure what to make of this edition.

The introduction is quite perfunctory, and one of the things it simply leaves out is an explanation/justification of the selection presented -- a selection which I find problematic.

For example, if this is really Dryden's "Major Works," where is The Hind and the Panther? At least one of his many plays should have been included as well (probably All for Love): even if Restoration drama is solidly not at the level of Shakespeare, Dryden was one of its show more major lights.

To my mind there is also, in general, not enough of Dryden's marvelous prose represented. Thank goodness there is some. I would gladly have sacrificed some of the many, many poetic translations given here to have had a better selection of prose.

Plenty of notes, but they are not always terribly helpful. In conclusion, this is a copious selection, but indifferently edited. It seems either lazy, or done by someone who was in the end not terribly enthusiastic about Dryden's work in the first place.
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I'm the kind of reader that eats up 18th Century satire, but despite my enthusiasm for that kind of work, John Dryden scares me. Perhaps it's because his name implies dryness (which is often true), or perhaps it's because, to my mind, his work doesn't sparkle in the way that his contemporaries' does (see Swift and Pope). Nevertheless, Marriage a-la-Mode is an amusing and surprisingly vulgar exploration of love and marriage, at a time when thoughts on both were changing radically.

The play show more features two overlapping but mostly independent plots: in one, the young royal Leonidas attempts to woe the fair Palmyra, but each has a unique relation to the usurper kind Polydamas, creating class conflicts that threaten their relationship. In the other, slightly less convoluted plot, friends Rhodophil and Palamede are each arranged into marriages that make them unhappy, but both are seeking mistresses that will ease their dissatisfactions. Unfortunately for both of the men, his mistress is the other's wife; hilarity, as expected, ensues.

The two plots, which deal in different ways with questions of class and identity, are really only tangentially related but play off each other in interesting thematic ways. The regal plot, which is the less interesting of the two, is fairly staid and inoffensive, and more strongly invested in political intrigue and masquerading than anything else. It is unsurprising that later stagings of the play omitted this plot entirely, but in the context of Dryden's original vision, it offers an interesting contrast to the more playful second plot.

It is in those scenes featuring Rhodophil and Palamede that Dryden's linguistic skills shine. The play's roguish characters are well-versed at double entendre and outright vulgarity, creating many plays on words that cut a blue streak across the already amusingly immoral proceedings. Perhaps time has dulled the effect of the barbs at French fakeness, but the rest of the dialogue remains lively and spry. The many near-misses between the would-be cuckolds are particularly wonderful, as they attempt to explain away coincidence after coincidence, unable to defend their own reasons but also unable to slay the other's hole-ridden arguments. The result is a pleasant diversion to the severity of the first plot.

For anyone who is hesitant to approach Dryden, Marriage a-la-Mode offers a wonderful point of entry. The New Mermaids edition particularly treats the original vision of the play as tantamount to later revisions, giving it a certain amount of artistic and scholarly authenticity. While not as well known as his other works, the play is still a great example of the wide breadth of Dryden's gifts as both a satirist and a poet.
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"Et tu, Brute?" The famous Shakespeare line from Julius Caesar is how most of us know Marcus Brutus. Well, the ancient biographer Plutarch wrote an entire life of Brutus. Turns out, Marcus Brutus was a remarkable man living in remarkable times. Here are several quotes from Plutarch's text along with my comments.

"Brutus having to the goodness of his disposition added the improvements of learning and the study of philosophy and having stirred up his natural parts, of themselves grave and show more gentle, by applying himself to business and public affairs, seems to have been of a temper exactly framed by virtue." ---------- What praise from Plutarch the philosopher - describing Brutus as a man good by nature and a lover of wisdom who is both serious and kind in the political sphere. The ideal Roman!

But bad time to be a Roman since it's civil war: Caesar vs. Pompey. We read: "Thinking it his duty to prefer the interest of the public to his own private feelings, and judging Pompey's to be the better cause . . . Brutus placed himself under Pompey's command." ---------- Years ago, Pompey had Brutus's father murdered, but Brutus was able to put aside his private feelings and, placing his country first, supported Pompey. And Plutarch writes how "Caesar had so great a regard for Brutus that he ordered his commanders by no means to kill him in the battle, but to spare him, if possible, and bring him safe to him." Now that speaks volumes of Brutus's character -- even in a civil war, each leader wanted him on his side. And, to thicken the plot, Caesar knew Brutus was probably his son.

As we all know from our ancient history, Caesar wins and brings Brutus over to his side. But, alas, Brutus can see Caesar is an unjust tyrant and, along with his friend Cassius and other high-ranking Romans, Brutus make plans to assassinate Caesar. In his planning, Brutus consults an Epicurean. "Statilius the Epicurean held that, to bring himself into troubles and danger upon the account of evil or foolish men did not become a man that had any wisdom or discretion." ---------- Epicureans wanted little to do with the public life, especially if one has to deal with vicious fools. As it turned out, perhaps this was a bit of Epicurean wisdom worth heeding. (I had to throw this in since I am drawn personally to the philosophy of Epicurus).

Caesar is assassinated but Brutus and Cassius have Caesar's nephew to deal with, a 20 year old, also named Caesar. As per usual in the ancient world, this means war. After many battles all over the Roman empire, it all comes down to one big final clash. Now, as it turns out, the navy fighting on behalf of Brutus defeated Caesar's fleet. If Brutus knew about this critical navel success, he would have had no need to rush into the grand finale of a land battle. Plutarch writes: "But it seems, the state of Rome not enduring any longer to be governed by many, but necessarily requiring a monarchy, the divine power, that it might remove out of the way the only man that was able to resist him that could control the empire, cut off his good fortune from coming to the ears of Brutus. ---------- Ah, Plutarch was not only a biographer but a priest at Delphi. In Plutarch's worldview, no matter how virtuous and right-thinking a man may be, he will not succeed if the gods have other plans.

Surrounded by Caesar's army, Brutus does the honorable Roman thing - he has himself put to death. But before this, Brutus says: "He found an infinite satisfaction in this, that none of his friends had been false to him; that as for fortune, he was angry with that only for his country's sake; as for himself, he thought himself much more happy than they who had overcome, not only as he had been a little time ago, but even now in his present condition since he was leaving behind him such a reputation of his virtue as none of the conquerors with all their arms and riches should ever be able to acquire." ---------- Spoken like a true Greco-Roman philosopher! Brutus valued friendship and a reputation for personal virtue above all else. In this he joins Cicero, Seneca and the future great Roman emperor/philosopher Marcus Aurelius.


Plutarch’s Lives are available on-line: http://www.documentacatholicaomnia.eu...
show less

"Et tu, Brute?" The famous Shakespeare line from Julius Caesar is how most of us know Marcus Brutus. Well, the ancient biographer Plutarch wrote an entire life of Brutus. Turns out, Marcus Brutus was a remarkable man living in remarkable times. Here are several quotes from Plutarch's text along with my comments.

"Brutus having to the goodness of his disposition added the improvements of learning and the study of philosophy and having stirred up his natural parts, of themselves grave and show more gentle, by applying himself to business and public affairs, seems to have been of a temper exactly framed by virtue." ---------- What praise from Plutarch the philosopher - describing Brutus as a man good by nature and a lover of wisdom who is both serious and kind in the political sphere. The ideal Roman!

But bad time to be a Roman since it's civil war: Caesar vs. Pompey. We read: "Thinking it his duty to prefer the interest of the public to his own private feelings, and judging Pompey's to be the better cause . . . Brutus placed himself under Pompey's command." ---------- Years ago, Pompey had Brutus's father murdered, but Brutus was able to put aside his private feelings and, placing his country first, supported Pompey. And Plutarch writes how "Caesar had so great a regard for Brutus that he ordered his commanders by no means to kill him in the battle, but to spare him, if possible, and bring him safe to him." Now that speaks volumes of Brutus's character -- even in a civil war, each leader wanted him on his side. And, to thicken the plot, Caesar knew Brutus was probably his son.

As we all know from our ancient history, Caesar wins and brings Brutus over to his side. But, alas, Brutus can see Caesar is an unjust tyrant and, along with his friend Cassius and other high-ranking Romans, Brutus make plans to assassinate Caesar. In his planning, Brutus consults an Epicurean. "Statilius the Epicurean held that, to bring himself into troubles and danger upon the account of evil or foolish men did not become a man that had any wisdom or discretion." ---------- Epicureans wanted little to do with the public life, especially if one has to deal with vicious fools. As it turned out, perhaps this was a bit of Epicurean wisdom worth heeding. (I had to throw this in since I am drawn personally to the philosophy of Epicurus).

Caesar is assassinated but Brutus and Cassius have Caesar's nephew to deal with, a 20 year old, also named Caesar. As per usual in the ancient world, this means war. After many battles all over the Roman empire, it all comes down to one big final clash. Now, as it turns out, the navy fighting on behalf of Brutus defeated Caesar's fleet. If Brutus knew about this critical navel success, he would have had no need to rush into the grand finale of a land battle. Plutarch writes: "But it seems, the state of Rome not enduring any longer to be governed by many, but necessarily requiring a monarchy, the divine power, that it might remove out of the way the only man that was able to resist him that could control the empire, cut off his good fortune from coming to the ears of Brutus. ---------- Ah, Plutarch was not only a biographer but a priest at Delphi. In Plutarch's worldview, no matter how virtuous and right-thinking a man may be, he will not succeed if the gods have other plans.

Surrounded by Caesar's army, Brutus does the honorable Roman thing - he has himself put to death. But before this, Brutus says: "He found an infinite satisfaction in this, that none of his friends had been false to him; that as for fortune, he was angry with that only for his country's sake; as for himself, he thought himself much more happy than they who had overcome, not only as he had been a little time ago, but even now in his present condition since he was leaving behind him such a reputation of his virtue as none of the conquerors with all their arms and riches should ever be able to acquire." ---------- Spoken like a true Greco-Roman philosopher! Brutus valued friendship and a reputation for personal virtue above all else. In this he joins Cicero, Seneca and the future great Roman emperor/philosopher Marcus Aurelius.


Plutarch’s Lives are available on-line: http://www.documentacatholicaomnia.eu...
show less

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