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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.
This volume contains Dryden's 1688 translation of Dominiques Bouhours "The Life of St. Francis Xavier," a sixteenth century Jesuit and missionary to the Far East.
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).
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.
"The Works of John Dryden - Volume XVI" from John Dryden. English poet, literary critic, translator, and playwright who was made Poet Laureate in 1668 (1631-1700).
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.
Reprint of the original, first published in 1882.
The dramatic representation of maritime spaces, characters and plots in Restoration and early eighteenth-century English theatres served as a crucial discursive negotiation of a burgeoning empire. This study focuses on staging the sea in a period of growing maritime, commercial and colonial activity, a time when the prominence of the sea and shipping was firmly established in the very fabric of English life. As theatres were re-established after the Restoration, playhouses soon became very visible spaces of cultural activity and important locales for staging cultural contact and conflict. Plays staging the sea can be read as central in representing the budding maritime empire to metropolitan audiences, as well as negotiating political power and knowledge about the other. The study explores well-known plays by authors such as Aphra Behn and William Wycherley alongside a host of more obscure plays by authors such as Edward Ravenscroft and Charles Gildon as cultural performances for negotiating cultural identity and difference in the late seventeenth and early eighteenth centuries.