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Table of Contents Published by VM eBook CRITICAL ESTIMATE OF THE GENIUS AND POETICAL WORKS OF JOHN DRYDEN. CONTENTS. EPISTLES. ELEGIES AND EPITAPHS. SONGS, ODES, AND A MASQUE. PROLOGUES AND EPILOGUES. TALES FROM CHAUCER. DRYDEN'S POEMS. EPISTLES. EPISTLE I. TO MY HONOURED FRIEND SIR ROBERT HOWARD,[1] ON HIS EXCELLENT POEMS. FOOTNOTES: EPISTLE II TO MY HONOURED FRIEND DR CHARLETON, ON HIS LEARNED AND USEFUL WORKS; BUT MORE PARTICULARLY HIS TREATISE OF STONEHENGE,[6] BY HIM RESTORED TO THE TRUE FOUNDER. FOOTNOTES: EPISTLE III. TO THE LADY CASTLEMAIN,[11] UPON HER ENCOURAGING HIS FIRST PLAY. FOOTNOTES: EPISTLE IV. TO MR LEE, ON HIS "ALEXANDER." FOOTNOTES: EPISTLE V. TO THE EARL OF ROSCOMMON, ON HIS EXCELLENT ESSAY ON TRANSLATED VERSE. FOOTNOTES: EPISTLE VI. TO THE DUCHESS OF YORK, ON HER RETURN FROM SCOTLAND IN THE YEAR 1682. FOOTNOTES: EPISTLE VII. A LETTER TO SIR GEORGE ETHEREGE.[16] FOOTNOTES: EPISTLE VIII. TO MR SOUTHERNE, ON HIS COMEDY CALLED "THE WIVES' EXCUSE." FOOTNOTES: EPISTLE IX. TO HENRY HIGDEN,[18] ESQ., ON HIS TRANSLATION OF THE TENTH SATIRE OF JUVENAL. FOOTNOTES: EPISTLE X. TO MY DEAR FRIEND MR CONGREVE, ON HIS COMEDY CALLED "THE DOUBLE-DEALER." EPISTLE XI. TO MR GRANVILLE,[20] ON HIS EXCELLENT TRAGEDY CALLED "HEROIC LOVE." FOOTNOTES: EPISTLE XII. TO MY FRIEND MR MOTTEUX,[23] ON HIS TRAGEDY CALLED "BEAUTY IN DISTRESS." FOOTNOTES: EPISTLE XIII. TO MY HONOURED KINSMAN, JOHN DRYDEN,[24] OF CHESTERTON, IN THE COUNTY OF HUNTINGDON, ESQ. FOOTNOTES: EPISTLE XIV.[32] TO SIR GODFREY KNELLER, PRINCIPAL PAINTER TO HIS MAJESTY. FOOTNOTES: EPISTLE XV. TO HIS FRIEND THE AUTHOR, JOHN HODDESDON, ON HIS DIVINE EPIGRAMS. EPISTLE XVI. TO MY FRIEND MR J. NORTHLEIGH, AUTHOR OF "THE PARALLEL," ON HIS "TRIUMPH OF THE BRITISH MONARCHY." ELEGIES AND EPITAPHS. I. TO THE MEMORY OF MR OLDHAM.[33] FOOTNOTES: II. TO THE PIOUS MEMORY OF THE ACCOMPLISHED YOUNG LADY MRS ANNE KILLIGREW,[34] EXCELLENT IN THE TWO SISTER ARTS OF POESY AND PAINTING. AN ODE. 1685. I. II. III. IV. V. VI. VII. VIII. IX. X. FOOTNOTES: III. UPON THE DEATH OF THE EARL OF DUNDEE.[36] FOOTNOTES: IV. ELEONORA: A PANEGYRICAL POEM, DEDICATED TO THE MEMORY OF THE LATE COUNTESS OF ABINGDON. JOHN DRYDEN. FOOTNOTES: V. ON THE DEATH OF AMYNTAS. A PASTORAL ELEGY. MENALCAS. DAMON. MENALCAS. VI. ON THE DEATH OF A VERY YOUNG GENTLEMAN. VII. UPON YOUNG MR ROGERS OF GLOUCESTERSHIRE. VIII. ON THE DEATH OF MR PURCELL. SET TO MUSIC BY DR BLOW. IX. EPITAPH ON THE LADY WHITMORE. X. EPITAPH ON SIR PALMES FAIRBONE'S TOMB IN WESTMINSTER ABBEY. SACRED TO THE IMMORTAL MEMORY OF SIR PALMES FAIRBONE, KNIGHT, GOVERNOR OF TANGIER; IN EXECUTION OF WHICH COMMAND, HE WAS MORTALLY WOUNDED BY A SHOT FROM THE MOORS, THEN BESIEGING THE TOWN, IN THE FORTY-SIXTH YEAR OF HIS AGE. OCTOBER 24, 1680. XI. UNDER MR MILTON'S PICTURE, BEFORE HIS PARADISE LOST.[38] FOOTNOTES: XII ON THE MONUMENT OF A FAIR MAIDEN LADY[39], WHO DIED AT BATH, AND IS THERE INTERRED. FOOTNOTES: XIII. EPITAPH ON MRS MARGARET PASTON, OF BURNINGHAM IN NORFOLK. XIV. ON THE MONUMENT OF THE MARQUIS OF WINCHESTER.[40] FOOTNOTES: SONGS, ODES, AND A MASQUE I. THE FAIR STRANGER.[41] A SONG. FOOTNOTES: II ON THE YOUNG STATESMEN. WRITTEN IN 1680. FOOTNOTES: III. A SONG FOR ST CECILIA'S DAY,[43]1687. GRAND CHORUS. FOOTNOTES: IV. THE TEARS OF AMYNTA, FOR THE DEATH OF DAMON. A SONG. V. THE LADY'S SONG.[44] FOOTNOTES: VI. A SONG. VII. A SONG. VIII. RONDELAY. IX. A SONG. X. A SONG TO A FAIR YOUNG LADY, GOING OUT OF TOWN IN THE SPRING. XI. SONGS IN THE "INDIAN EMPEROR." I. II. XII. SONG IN THE "MAIDEN QUEEN." XIII. SONGS IN "THE CONQUEST OF GRANADA." I. II. XIV. SONG OF THE SEA-FIGHT, IN AMBOYNA. XV. INCANTATION IN OEDIPUS. XVI. SONGS IN ALBION AND ALBANIUS. I. II. III. IV. V. XVII. SONGS IN KING ARTHUR. I. II. MAN SINGS. CHORUS. WOMAN SINGS. CHORUS. III. IV. V. VI. XVIII. SONG OF JEALOUSY, IN LOVE TRIUMPHANT. XIX. SONG. FAREWELL, FAIR ARMIDA. XX. ALEXANDER'S FEAST; OR, THE POWER OF MUSIC. AN ODE, IN HONOUR OF ST CECILIA'S DAY. CHORUS. CHORUS. CHORUS. CHORUS. CHORUS. CHORUS. GRAND CHORUS. XXI THE SECULAR MASQUE.[45] FOOTNOTES: XXII. SONG OF A SCHOLAR AND HIS MISTRESS, WHO, BEING CROSSED BY THEIR FRIENDS, FELL MAD FOR ONE ANOTHER; AND NOW FIRST MEET IN BEDLAM. PROLOGUES AND EPILOGUES. I. PROLOGUE TO THE RIVAL LADIES. A SECOND PROLOGUE ENTERS. II. PROLOGUE TO THE INDIAN QUEEN. III. EPILOGUE TO THE INDIAN QUEEN. SPOKEN BY MONTEZUMA. IV. EPILOGUE TO THE INDIAN EMPEROR, BY A MERCURY. V. PROLOGUE TO SIR MARTIN MARR-ALL. VI. PROLOGUE TO THE TEMPEST. VII. PROLOGUE TO TYRANNIC LOVE. VIII. EPILOGUE TO THE WILD GALLANT, WHEN REVIVED. IX. PROLOGUE. SPOKEN THE FIRST DAY OF THE KING'S HOUSE ACTING AFTER THE FIRE OF LONDON. X. EPILOGUE TO THE SECOND PART OF THE CONQUEST OF GRANADA. XI. PROLOGUE TO AMBOYNA.[46] FOOTNOTES: XII. EPILOGUE TO AMBOYNA. XIII. PROLOGUE. SPOKEN AT THE OPENING OF THE NEW HOUSE, MARCH 26, 1674. FOOTNOTES: XIV. PROLOGUE TO THE UNIVERSITY OF OXFORD, 1674. SPOKEN BY MR HART. FOOTNOTES: XV. PROLOGUE TO "CIRCE," A TRAGIC OPERA; BY DR DAVENANT,[50] 1675. FOOTNOTES: XVI. EPILOGUE, INTENDED TO HAVE BEEN SPOKEN BY THE LADY HEN. MAR. WENTWORTH, WHEN "CALISTO"[51] WAS ACTED AT COURT. FOOTNOTES: XVII. PROLOGUE TO "AURENGZEBE." FOOTNOTES: XVIII. EPILOGUE TO "THE MAN OF MODE; OR, SIR FOPLING FLUTTER;" BY SIR GEORGE ETHEREGE, 1676. XIX. EPILOGUE TO "ALL FOR LOVE." XX. PROLOGUE TO "LIMBERHAM." XXI. EPILOGUE TO "MITHRIDATES, KING OF PONTUS;" BY NATHAN LEE, 1678. XXII. PROLOGUE TO "OEDIPUS." XXIII. EPILOGUE TO "OEDIPUS." XXIV. PROLOGUE TO "TROILUS AND CRESSIDA." SPOKEN BY MR BETTERTON, REPRESENTING THE GHOST OF SHAKSPEARE. XXV. PROLOGUE TO "CÆSAR BORGIA;"[54] BY NATHAN LEE, 1680. FOOTNOTES: XXVI. PROLOGUE TO "SOPHONISBA," ACTED AT OXFORD, 1680. WRITTEN BY NATHAN LEE. FOOTNOTES: XXVII. PROLOGUE TO "THE LOYAL GENERAL;" BY MR TATE, 1680. FOOTNOTES: XXVIII. PROLOGUE[57] TO THE UNIVERSITY OF OXFORD, FOOTNOTES: XXIX. PROLOGUE[58] TO HIS ROYAL HIGHNESS, UPON HIS FIRST APPEARANCE AT THE DUKE'S THEATRE, AFTER HIS RETURN FROM SCOTLAND, 1682. FOOTNOTES: XXX. PROLOGUE TO "THE EARL OF ESSEX; OR, THE UNHAPPY FAVOURITE;" BY MR J. BANKS, 1682. SPOKEN TO THE KING AND QUEEN AT THEIR COMING TO THE HOUSE. XXXI. EPILOGUE FOR "THE KING'S HOUSE."[59] FOOTNOTES: XXXII. PROLOGUE TO "THE LOYAL BROTHER; OR, THE PERSIAN PRINCE;"[60] BY MR SOUTHERN, 1682. FOOTNOTES: XXXIII. PROLOGUE TO "THE KING AND QUEEN."[63] UPON THE UNION OF THE TWO COMPANIES IN 1686. FOOTNOTES: XXXIV. PROLOGUE TO THE UNIVERSITY OF OXFORD, SPOKEN BY MR HART, AT THE ACTING OF "THE SILENT WOMAN." XXXV. EPILOGUE, SPOKEN BY THE SAME. XXXVI. EPILOGUE, SPOKEN AT OXFORD, BY MRS MARSHALL. FOOTNOTES: XXXVII. PROLOGUE TO THE UNIVERSITY OF OXFORD. XXXVIII. PROLOGUE TO THE UNIVERSITY OF OXFORD. XXXIX. PROLOGUE TO "ALBION AND ALBANIUS." XL. EPILOGUE TO "ALBION AND ALBANIUS." XLI. PROLOGUE TO "ARVIRGUS AND PHILICIA REVIVED." BY LODOWICK CARLELL, ESQ., 1690. SPOKEN BY MR HART. XLII. PROLOGUE TO "DON SEBASTIAN." SPOKEN BY A WOMAN. XLIII. PROLOGUE TO "THE PROPHETESS."[65] BY BEAUMONT AND FLETCHER. SPOKEN BY MR BETTERTON. 1690. FOOTNOTES: XLIV. PROLOGUE TO "THE MISTAKES." BY JOSEPH HARRIS, COMEDIAN, 1690. (WRITTEN BY SOME OTHER.) XLV. PROLOGUE TO "KING ARTHUR." SPOKEN BY MR BETTERTON. XLVI. PROLOGUE TO "ALBUMAZAR."[67] FOOTNOTES: XLVII. AN EPILOGUE. XLVIII. EPILOGUE TO "THE HUSBAND HIS OWN CUCKOLD." BY MR JOHN DRYDEN, JUN., 1696.[68] FOOTNOTES: XLIX. PROLOGUE TO "THE PILGRIM." BY BEAUMONT AND FLETCHER. REVIVED FOR OUR AUTHOR'S BENEFIT, ANNO 1700. FOOTNOTES: L. EPILOGUE TO "THE PILGRIM." FOOTNOTES: TALES FROM CHAUCER. TO HIS GRACE THE DUKE OF ORMOND. PREFACE. TO HER GRACE THE DUCHESS OF ORMOND,[71] WITH THE FOLLOWING POEM OF PALAMON AND ARCITE. MADAM, FOOTNOTES: PALAMON AND ARCITE: OR, THE KNIGHT'S TALE. BOOK I. BOOK II. BOOK III. THE COCK AND THE FOX: OR, THE TALE OF THE NUN'S PRIEST. THE MORAL. FOOTNOTES: THE FLOWER AND THE LEAF: OR, THE LADY IN THE ARBOUR.[74] A VISION. FOOTNOTES: THE WIFE OF BATH, HER TALE. FOOTNOTES: THE CHARACTER OF A GOOD PARSON.[80] FOOTNOTES:
This volume contains the poems of Dryden extending from 1681 to 1684. Along with the poems of Dryden and associated extensive commentaries and textual notes from the editors, this volume contains the dramatic prologues and epilogues Dryden wrote for the plays of other writers from this period of time.
This volume contains the poems of Dryden extending from 1681 to 1684. Along with the poems of Dryden and associated extensive commentaries and textual notes from the editors, this volume contains the dramatic prologues and epilogues Dryden wrote for the plays of other writers from this period of time. This volume contains the poems of Dryden extending from 1681 to 1684. Along with the poems of Dryden and associated extensive commentaries and textual notes from the editors, this volume contains the dramatic prologues and epilogues Dryden wrote for the p
Reprint of the original, first published in 1882.
This volume highlights the variety of forms comedy took in England, with reference to developments in Europe, particularly France, during the European Enlightenment. It argues that comedy in this period is characterized by wit, satire, and humor, provoking both laughter and sympathetic tears. Comic expression in the Enlightenment reflects continuities and engagements with the comedy of previous eras; it is also noted for new forms and preoccupations engendered by the cultural, philosophical, and political concerns of the time, including democratizing revolutions, increasing secularization, and growing emphasis on individualism. Discussions emphasize the period's stage comedy and acknowledge comic expression in various forms of print media including the emerging literary form we now know as the novel. Contributions from scholars reflect a wide variety of interests in the field of 18th-century studies, and the inclusion of a generous number of illustrations throughout demonstrates that the period's visual culture was also an important part of the Enlightenment comic landscape. Each chapter takes a different theme as its focus: form, theory, praxis, identities, the body, politics and power, laughter and ethics. These eight different approaches to Enlightenment comedy add up to an extensive, synoptic coverage of the subject.
Enlightenment critics from Dryden through Johnson and Wordsworth conceived the modern view that art and especially literature entails a double reflection: a reflection of the world, and a reflection on the process by which that reflection is accomplished. Instead “neoclassicism” and “Augustanism” have been falsely construed as involving a one-dimensional imitation of classical texts and an unselfconscious representation of the world. In fact these Enlightenment movements adopted an oblique perspective that registers the distance between past tradition and its present reenactment, between representation and presence. Two modern movements, Romanticism and modernism, have appropriated as their own these innovations, which derive from Enlightenment thought. Both of these movements ground their error in a misreading of “imitation” as understood by Aristotle and his Enlightenment proponents. Rightly understood, neoclassical imitation, constitutively aware of the difference between what it knows and how it knows it, is an experimental inquiry that generates a range of prefixes—“counter-,” “mock-,” “anti-,” “neo-”—that mark formal degrees of its epistemological detachment. Romantic ideology has denied the role of the imagination in Enlightenment imitation, imposing on the eighteenth century a dichotomous periodization: duplication versus imagination, the mirror versus the lamp. Structuralist ideology has dichotomized narration and description, form and content, structure and history. Poststructuralist ideology has propounded for the novel a contradictory “novel tradition”—realism, modernism, postmodernism, postcolonialism—whose stages both constitute a sequence and collapse it, each stage claiming the innovation of the stage that precedes it. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
Volume XI contains three of Dryden's Plays, along with accompanying scholarly appartus: The Conquest of Granada, Marriage A-la-Mode, and The Assignation.