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Volume XIII contains three of Dryden's Plays, along with accompanying scholarly appartus: All for Love, Oedipus, and Troilus and Cressida.
This is the final volume in The Works of John Dryden and the last volume of poetry written by Dryden before he died in 1700.
Aphra Behn (1640-1689) is renowned as the first professional woman of literature and drama in English. Her career in the Restoration theatre extended over two decades, encompassing remarkable generic range and diversity. Her last five plays, written and performed between 1682 and 1696, include city comedies (The City-Heiress, The Luckey Chance), a farce (The Emperor of the Moon), a tragicomedy (The Widdow Ranter), and a comedy of family inheritance (The Younger Brother). These plays exemplify Behn's skills in writing for individual performers, and exhibit the topical political engagement for which she is renowned. They witness to Behn's popularity with theatre audiences during the politically and financially difficult years of the 1680s and even after her death. Informed by the most up-to-date research in computational attribution, this fully annotated edition draws on recent scholarship to provide a comprehensive guide to Behn's work, and the literary, theatrical and political history of the Restoration.
The three plays in this volume, composed between 1672 or 1673 and 1675, demonstrate Dryden's versatility and inventiveness as a dramatist. Amboyna, a tragedy written to stir the English to prosecute the Third Dutch War, describes the destruction by the Dutch of English trading posts on two Indonesian islands. Regarded in its time as sensationalist, it is really a dignified drama that decries violence. The State of Innocence, termed an opera, is a rhymed version of Milton's Paradise Lost. Though never performed or set to music, it became one of Dryden's most widely read dramas. Aureng-Zebe, the last and generally considered the best of Dryden's rhymed heroic plays, portrays the rise to power of Mogul emperor Aureng-Zebe (1618-1707).
Eighteenth-century fiction is full of mechanical devices and contrivances: Robinson Crusoe uses his gun and compass to master his island and its inhabitants; Tristram Shandy's conception is interrupted by a question about a clock and he has his nose damaged at birth by a man-midwife's forceps; Ann Radcliffe's gothic heroines play musical instruments to soothe their troubled minds. In Novel Machines, however, Joseph Drury argues that the most important machine in any eighteenth-century novel is the narrative itself. Like other kinds of machine, a narrative is an artificial construction composed of different parts that combine to produce a sequence of causally linked actions. Like other machines, a narrative is designed to produce predictable effects and can therefore be put to certain uses. Such affinities had been apparent to critics since Aristotle, but they began to assume a particular urgency in the eighteenth century as authors sought to organize their narratives according to the new ideas about nature, art, and the human subject that emerged out of the Scientific Revolution. Reading works by Eliza Haywood, Henry Fielding, Laurence Sterne, and Ann Radcliffe, Novel Machines tracks the consequences of the effort to transform the novel into an Enlightenment machine. On the one hand, the rationalization of the novel's narrative machinery helped establish its legitimacy, such that by the end of the century it could be celebrated as a modern 'invention' that provided valuable philosophical knowledge about human nature. On the other hand, conceptualizing the novel as a machine opened up a new line of attack for the period's moralists, whose polemics against the novel were often framed in the same terms used to reflect on the uses and effects of machines in other contexts. Eighteenth-century novelists responded by adapting the novel's narrative machinery, devising in the process some of the period's most characteristic and influential formal innovations.
What part did Shakespeare play in the construction of a 'white people' and how has his work been enlisted to define and bolster a white cultural and racial identity? Since the court of Queen Elizabeth I, through the early modern English theatre to the storming of the United States Capitol on 6 January 2021, white people have used Shakespeare to define their cultural and racial identity and authority. White People in Shakespeare unravels this complex cultural history to examine just how crucial Shakespeare's work was to the early modern development of whiteness as an embodied identity, as well as the institutional dissemination of a white Shakespeare in contemporary theatres, politics, classrooms and other key sites of culture. Featuring contributors from a wide range of disciplines, the collection moves across Shakespeare's plays and poetry and between the early modern and our own time to interrogate these relationships. Split into two parts, 'Shakespeare's White People' and 'White People's Shakespeare', it explores a variety of topics, ranging from the education of the white self in Hamlet, or affective piety and racial violence in Measure for Measure, to Shakespearean education and the civil rights era, and interpretations of whiteness in more contemporary work such as American Moor and Desdemona.
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.