John Dryden
John Dryden | |
---|---|
Poet Laureate of England | |
In office 13 April 1668 – January 1688 | |
Monarch | James II |
Preceded by | Inaugural holder |
Succeeded by | Thomas Shadwell |
Personal details | |
Born | Aldwincle, Northamptonshire, England | 19 August 1631
Died | 12 May 1700 London, England | (aged 68)
Spouse |
Lady Elizabeth Howard
(m. 1663) |
Children | John, and Erasmus Henry |
Alma mater | Westminster School Trinity College, Cambridge |
Occupation |
|
Writing career | |
Language | English |
Period | 1659–1700 |
Genre | |
Subject | Politics and other |
Literary movement | Classicism |
Signature | |
John Dryden (
He is seen as dominating the literary life of
Early life
Dryden was born in the village rectory of
As a humanist public school, Westminster maintained a curriculum which trained pupils in the art of rhetoric and the presentation of arguments for both sides of a given issue. This is a skill which would remain with Dryden and influence his later writing and thinking, as much of it displays these dialectical patterns. The Westminster curriculum included weekly translation assignments which developed Dryden's capacity for assimilation. This was also to be exhibited in his later works. His years at Westminster were not uneventful, and his first published poem, an elegy with a strong royalist feel on the death of his schoolmate Henry, Lord Hastings from smallpox, alludes to the execution of King Charles I, which took place on 30 January 1649, very near the school where Busby had first prayed for the King and then locked in his schoolboys to prevent their attending the spectacle.
In 1650 Dryden went up to Trinity College, Cambridge.[5] Here he would have experienced a return to the religious and political ethos of his childhood: the Master of Trinity was a Puritan preacher by the name of Thomas Hill who had been a rector in Dryden's home village.[6] Though there is little specific information on Dryden's undergraduate years, he would most certainly have followed the standard curriculum of classics, rhetoric, and mathematics. In 1654 he obtained his BA, graduating top of the list for Trinity that year. In June of the same year Dryden's father died, leaving him some land which generated a little income, but not enough to live on.[7]
Returning to London during
Later life and career
After the Restoration, as Dryden quickly established himself as the leading poet and literary critic of his day, he transferred his allegiances to the new government. Along with Astraea Redux, Dryden welcomed the new regime with two more panegyrics: To His Sacred Majesty: A Panegyric on his Coronation (1662) and To My Lord Chancellor (1662). These poems suggest that Dryden was looking to court a possible patron, but he was to instead make a living in writing for publishers, not for the aristocracy, and thus ultimately for the reading public. These, and his other nondramatic poems, are occasional—that is, they celebrate public events. Thus they are written for the nation rather than the self, and the
On 1 December 1663, Dryden married the royalist sister of Sir Robert Howard—Lady Elizabeth. Dryden's works occasionally contain outbursts against the married state but also celebrations of the same. Thus, little is known of the intimate side of his marriage. Lady Elizabeth bore three sons, one of whom (Erasmus Henry) became a Roman Catholic priest.[citation needed]
With the reopening of the theatres in 1660 after the Puritan ban, Dryden began writing plays. His first play The Wild Gallant appeared in 1663, and was not successful, but was still promising, and from 1668 on he was contracted to produce three plays a year for the King's Company in which he became a shareholder. During the 1660s and 1670s, theatrical writing was his main source of income. He led the way in Restoration comedy, his best-known work being Marriage à la Mode (1673), as well as heroic tragedy and regular tragedy, in which his greatest success was All for Love (1678).
Dryden was never satisfied with his theatrical writings and frequently suggested that his talents were wasted on unworthy audiences. He thus was making a bid for poetic fame off-stage. In 1667, around the same time his dramatic career began, he published Annus Mirabilis, a lengthy historical poem which described the English defeat of the Dutch naval fleet and the Great Fire of London in 1666. It was a modern epic in pentameter quatrains that established him as the preeminent poet of his generation, and was crucial in his attaining the posts of Poet Laureate (1668) and historiographer royal (1670).
When the Great Plague of London closed the theatres in 1665, Dryden retreated to Wiltshire where he wrote Of Dramatick Poesie (1668), arguably the best of his unsystematic prefaces and essays. Dryden constantly defended his own literary practice, and Of Dramatick Poesie, the longest of his critical works, takes the form of a dialogue in which four characters — each based on a prominent contemporary, with Dryden himself as 'Neander' — debate the merits of classical, French and English drama. The greater part of his critical works introduce problems which he is eager to discuss, and show the work of a writer of independent mind who feels strongly about his own ideas, ideas which demonstrate the breadth of his reading. He felt strongly about the relation of the poet to tradition and the creative process, and his best heroic play Aureng-zebe (1675) has a prologue which denounces the use of rhyme in serious drama. His play All for Love (1678) was written in blank verse, and was to immediately follow Aureng-Zebe.[citation needed]
Dryden's poem, "An Essay upon Satire", contained a number of attacks on King Charles II, his mistresses and courtiers, but most pointedly on the Earl of Rochester, a notorious womaniser.[9] Rochester responded by hiring thugs who attacked Dryden whilst walking back from Will's Coffee House (a popular London coffee house where the Wits gathered to gossip, drink and conduct their business) to his house on Gerrard Street. At around 8 pm on 18 December 1679, Dryden was attacked in Rose Alley behind the Lamb & Flag pub, near his home in Covent Garden.[10][11][12][13] Dryden survived the attack, offering £50 for the identity of the thugs placed in the London Gazette, and a Royal Pardon if one of them would confess. No one claimed the reward.[9]
Dryden's greatest achievements were in satiric verse: the mock-heroic
He wrote Britannia Rediviva celebrating the birth of a son and heir to the Catholic King and Queen on 10 June 1688.[16]
When, later in the same year, James II was deposed in the
Death
Dryden died on 12 May 1700, and was initially buried in St. Anne's cemetery in Soho, before being exhumed and reburied in
In his will, he left The George Inn at Northampton to trustees, to form a school for the children of the poor of the town. This became John Dryden's School, later The Orange School.[22]
Reputation and influence
Dryden was the dominant literary figure and influence of his age. He established the
Johnson also noted, however, that "He is, therefore, with all his variety of excellence, not often pathetic; and had so little sensibility of the power of effusions purely natural, that he did not esteem them in others. Simplicity gave him no pleasure." Readers in the first half of the 18th century did not mind this too much, but later generations considered Dryden's absence of sensibility a fault.
One of the first attacks on Dryden's reputation was by
Dryden is believed to be the first person to posit that English sentences should not end in prepositions because Latin sentences cannot end in prepositions.[29][30] Dryden created the proscription against preposition stranding in 1672 when he objected to Ben Jonson's 1611 phrase, "the bodies that those souls were frighted from," though he did not provide the rationale for his preference.[31] Dryden often translated his writing into Latin, to check whether his writing was concise and elegant, Latin being considered an elegant and long-lived language with which to compare; then Dryden translated his writing back to English according to Latin-grammar usage. As Latin does not have sentences ending in prepositions, Dryden may have applied Latin grammar to English, thus forming the rule of no sentence-ending prepositions, subsequently adopted by other writers.[32]
The phrase "blaze of glory" is believed to have originated in Dryden's 1686 poem The Hind and the Panther, referring to the throne of God as a "blaze of glory that forbids the sight."[33]
Poetic style
What Dryden achieved in his poetry was neither the emotional excitement of the early nineteenth-century romantics nor the intellectual complexities of the metaphysicals. His subject matter was often factual, and he aimed at expressing his thoughts in the most precise and concentrated manner. Although he uses formal structures such as heroic couplets, he tried to recreate the natural rhythm of speech, and he knew that different subjects need different kinds of verse. In his preface to Religio Laici he says that "the expressions of a poem designed purely for instruction ought to be plain and natural, yet majestic... The florid, elevated and figurative way is for the passions; for (these) are begotten in the soul by showing the objects out of their true proportion.... A man is to be cheated into passion, but to be reasoned into truth."
Translation style
While Dryden had many admirers, he also had his share of critics, Mark Van Doren among them. Van Doren complained that in translating Virgil's Aeneid, Dryden had added "a fund of phrases with which he could expand any passage that seemed to him curt." Dryden did not feel such expansion was a fault, arguing that as Latin is a naturally concise language it cannot be duly represented by a comparable number of words in English. "He...recognized that Virgil 'had the advantage of a language wherein much may be comprehended in a little space' (5:329–30). The 'way to please the best Judges...is not to Translate a Poet literally; and Virgil least of any other' (5:329)."[34]
For example, take lines 789–795 of Book 2 when Aeneas sees and receives a message from the ghost of his wife, Creusa.
iamque vale et nati serva communis amorem.'
haec ubi dicta dedit, lacrimantem et multa volentem
dicere deseruit, tenuisque recessit in auras.
ter conatus ibi collo dare bracchia circum;
ter frustra comprensa manus effugit imago,
par levibus ventis volucrique simillima somno.
sic demum socios consumpta nocte reviso[35]
Dryden translates it like this:
I trust our common issue to your care.'
She said, and gliding pass'd unseen in air.
I strove to speak: but horror tied my tongue;
And thrice about her neck my arms I flung,
And, thrice deceiv'd, on vain embraces hung.
Light as an empty dream at break of day,
Or as a blast of wind, she rush'd away.
Thus having pass'd the night in fruitless pain,
I to my longing friends return again[36]
Dryden's translation is based on presumed authorial intent and smooth English. In line 790 the literal translation of haec ubi dicta dedit is "when she gave these words." But "she said" gets the point across, uses half the words, and makes for better English.[according to whom?] A few lines later, with ter conatus ibi collo dare bracchia circum; ter frustra comprensa manus effugit imago, he alters the literal translation "Thrice trying to give arms around her neck; thrice the image grasped in vain fled the hands," in order to fit it into the metre and the emotion of the scene.
In his own words,
The way I have taken, is not so streight as Metaphrase, nor so loose as Paraphrase: Some things too I have omitted, and sometimes added of my own. Yet the omissions I hope, are but of Circumstances, and such as wou'd have no grace in English; and the Addition, I also hope, are easily deduc'd from Virgil's Sense. They will seem (at least I have the Vanity to think so), not struck into him, but growing out of him. (5:529)[37]
In a similar vein, Dryden writes in his Preface to the translation anthology Sylvae:
Where I have taken away some of [the original authors'] Expressions, and cut them shorter, it may possibly be on this consideration, that what was beautiful in the Greek or Latin, would not appear so shining in the English; and where I have enlarg’d them, I desire the false Criticks would not always think that those thoughts are wholly mine, but that either they are secretly in the Poet, or may be fairly deduc’d from him; or at least, if both those considerations should fail, that my own is of a piece with his, and that if he were living, and an Englishman, they are such as he wou’d probably have written.[38]
Personal life
On 1 December 1663, Dryden married Lady Elizabeth Howard (died 1714)[39] at St Swithin's, London, and the consent of the parents is noted on the licence, although Lady Elizabeth was then about twenty-five.
The couple met after 1660, when Dryden began lodging in London with her brother, Sir Robert Howard, son of the earl of Berkshire. The marriage lasted until his death, but there is little evidence about how they lived as a couple. A small estate in Wiltshire was settled upon them by her father. The lady's intellect and temper were apparently not good; her husband was treated as an inferior by those of her social status.[40]
Both Dryden and his wife were warmly attached to their children.
Selected works
Dramatic works
Dates given are (acted/published) and unless otherwise noted are taken from Scott's edition.[44]
- The Wild Gallant, a Comedy (1663/1669)
- The Rival Ladies, a Tragi-Comedy (1663/1664)
- The Indian Queen, a Tragedy (1664/1665)
- The Indian Emperor, or the Conquest of Mexico by the Spaniards (1665/)
- Secret Love, or the Maiden Queen (1667/)
- Sir Martin Mar-all, or the Feigned Innocence, a Comedy (1667/1668)
- William D'Avenant of Shakespeare's The Tempest
- An Evening's Love, or the Mock Astrologer, a Comedy (1668/1668)
- Tyrannick Love, or the Royal Martyr, a Tragedy (1668 or 1669/1670)
- Almanzor and Almahide, or the Conquest of Granada by the Spaniards, a Tragedy, Part I & Part II (1669 or 1670/1672)
- Marriage-a-la-Mode, a Comedy (1673/1673)
- The Assignation, or Love in a Nunnery, a Comedy (1672/1673)
- Amboyna; or the Cruelties of the Dutch to the English Merchants, a Tragedy (1673/1673)
- The Mistaken Husband (comedy) (1674/1675)[45]
- The State of Innocence, and Fall of Man, an Opera (/1674)
- Aureng-Zebe, a Tragedy (1676/1676)
- All for Love, or the World Well Lost, a Tragedy (1678/1678)
- Limberham, or the Kind Keeper, a Comedy (/1678)
- Troilus and Cressida, or Truth found too late, a Tragedy (/1679)
- The Spanish Friar, or the Double Discovery (1681 or 1682/)
- The Duke of Guise, a Tragedy (1682/1683) with Nathaniel Lee
- Albion and Albanius, an Opera (1685/1685)
- Don Sebastian, a Tragedy (1690/1690)
- Amphitryon, or the Two Sosias, a Comedy (1690/1690)
- King Arthur, or the British Worthy, a Dramatic Opera (1691/1691)
- Cleomenes, the Spartan Hero, a Tragedy (1692/1692)
- Love Triumphant, or Nature will prevail, a Tragedy (1693 or 1694/1693 or 1694)
- The Secular Masque(1700/1700)
Other works
- Astraea Redux, 1660
- Annus Mirabilis (poem), 1667
- An Essay of Dramatick Poesie, 1668
- Absalom and Achitophel, 1681
- Mac Flecknoe, 1682
- The Medal, 1682
- Religio Laici, 1682
- To the Memory of Mr. Oldham, 1684
- Threnodia Augustalis, 1685
- The Hind and the Panther, 1687
- A Song for St. Cecilia's Day, 1687
- Britannia Rediviva, 1688, written to mark the birth of James, Prince of Wales.
- Epigram on Milton, 1688
- Creator Spirit, by whose aid, 1690. Translation of Rabanus Maurus' Veni Creator Spiritus[46]
- The Works of Virgil, 1697
- Alexander's Feast, 1697
- Fables, Ancient and Modern, 1700
- Palamon and Arcite
- The Art of Satire
References
- ^ William Minto and Margaret Bryant (1911). "Dryden, John". In Chisholm, Hugh (ed.). Encyclopædia Britannica. 8. (11th ed.). Cambridge University Press. pp. 609-613.
- ^ "John Dryden (British author)". Encyclopædia Britannica. Retrieved 13 May 2014.
- ^ Scott, W. Waverley, vol. 12, ch. 14, The Pirate: "I am desirous to hear of your meeting with Dryden". "What, with Glorious John?"
- ^ Hopkins, David, John Dryden, ed. by Isobel Armstrong, (Tavistock: Northcote House Publishers, 2004), 22
- ^ "Dryden, John (DRDN650J)". A Cambridge Alumni Database. University of Cambridge.
- ^ John Dryden The Major Works, ed. by Keith Walker, (Oxford: Oxford University Press, 1987), ix–x
- ^ John Dryden The Major Works, ed. by Keith Walker, (Oxford: Oxford University Press, 1987), x
- ^ Abrams, M.H., and Stephen Greenblatt eds. 'John Dryden' in The Norton Anthology of English Literature, 7th ed., (New York: Norton & Co, 2000), 2071
- ^ a b Peschel, Bill (18 December 2008). "John Dryden Suffers For His Art (1679)". Bill Peschel. Archived from the original on 13 February 2022. Retrieved 5 February 2019.
- ^ "Dryden". London Remembers. Archived from the original on 7 February 2019. Retrieved 5 February 2019.
- ISBN 978-0520227958. Retrieved 30 July 2010.
- JSTOR 509792.
- ^ "John Wilmot, 2nd Earl of Rochester". luminarium.org. Retrieved 2 August 2010.
- ISBN 0820112895
- ^ Eliot, T.S., 'John Dryden', in Selected Essays, (London: Faber and Faber, 1932), p. 308
- ^ Britannia Rediviva: a Poem on the Birth of the Prince. John Dryden. 1913. The Poems of John Dryden. Bartleby.com. Retrieved 12 May 2014.
- ^ John Dryden The Major Works, ed. by Keith Walker, p. xiv
- JSTOR 20162849.
- ^ Winn, James Anderson. John Dryden and His World. New Haven: Yale University Press, 1987. p. 512
- ^ "Dryden, John (1631–1700)". English Heritage. Retrieved 26 April 2017.
- ^ Wheatley, Henry B. (1904). "Gerrard Street and its neighbourhood". K. Paul, Trench, Trübner & Co; 35 pages
{{cite journal}}
: Cite journal requires|journal=
(help)CS1 maint: postscript (link) - ISBN 9780608383576.
- ISBN 9780679643500.
- ^ John Dryden The Major Works, 37
- ISBN 978-0199538331.
- ^ Eliot, T. S., John Dryden, 305–06
- ISBN 9780811200370.
- ^ Robert M. Adams, "The Case for Dryden", The New York Review of Books 17 March 1988
- ^ Gilman, E. Ward (ed.). 1989. "A Brief History of English Usage", Webster's Dictionary of English Usage. Springfield, Mass.: Merriam-Webster, pp. 7a–11a, Archived 1 December 2008 at the Wayback Machine
- NPR. Retrieved 18 May 2011.
- ^ Rodney Huddleston and Geoffrey K. Pullum, 2002, The Cambridge Grammar of the English Language. Cambridge: Cambridge University Press, pp. 627ff.
- ISBN 978-1101870945.
- ISBN 978-0141025162.
- ^ Corse, Taylor. Dryden's Aeneid. Associated University Presses. p. 15.
- ^ Virgil. The Aeneid. Mundelein IL: Bolchazy-Carducci. p. 140.
- ^ Virgil (March 1995). Aeneid. Retrieved 15 April 2014.
- ^ Dryden, Jonh (1697). The Works of Virgil in English. Berkeley: University of California Press.
- ^ Dryden, John. "Preface to Sylvae". Bartelby.com. Retrieved 27 April 2015.
- ^ "The Life of John Dryden". luminarium.org. Retrieved 6 May 2017.
- ^ One or more of the preceding sentences incorporates text from a publication now in the public domain: Stephen, Leslie (1888). "Dryden, John". In Stephen, Leslie (ed.). Dictionary of National Biography. Vol. 16. London: Smith, Elder & Co. pp. 66, 73–74.
- ^ Stephen 1888, p. 66.
- ^ Stephen 1888, pp. 72–74.
- ^
"Archived copy". Archived from the original on 17 June 2014. Retrieved 25 June 2014.
{{cite web}}
: CS1 maint: archived copy as title (link) - ^ Walter Scott, ed. (1808). The Works of John Dryden. London: William Miller.
- ^ Authorship is unresolved; not included in Scott.
- ^ Hatfield, Edwin F., ed., The Church Hymn book, 1872 (n. 313, pp. 193–94), New York and Chicago
Further reading
Editions
- The Works of John Dryden, 20 vols., ed. H.T. Swedenberg Jr. et al. (Berkeley and Los Angeles: University of California Press, 1956–2002)
- John Dryden The Major Works, ed. by Keith Walker, (Oxford: Oxford University Press, 1987)
- The Works of John Dryden, ed. by David Marriott (Hertfordshire: Wordsworth Editions, 1995)
- John Dryden Selected Poems, ed. by David Hopkins (London: Everyman Paperbacks, 1998)
- John Dryden Selected Poems, ed. by Steven N. Zwicker and David Bywaters (London: Penguin Books, 2001) ISBN 978-0140439144
Biography
- Winn, James Anderson. John Dryden and His World (New Haven: Yale University Press, 1987)
Correspondence
- Dryden, John. Eds. Stephen Bernard and John McTague. 2022. The Correspondence of John Dryden. Manchester: Manchester University Press.
- Dryden, John. Eds. Charles Eugene. Ward, and Charles Eugene Ward. The Letters of John Dryden, with Letters Addressed to Him. New York: AMS Press, 1965.
Modern criticism
- Eliot, T. S., "John Dryden," in Selected Essays (London: Faber and Faber, 1932)
- Hopkins, David, John Dryden, ed. by Isobel Armstrong (Tavistock: Northcote House Publishers, 2004)
- Minto, William; Bryant, Margaret (1911). . Encyclopædia Britannica. Vol. 8 (11th ed.). pp. 609–613.
- Oden, Richard, L. Dryden and Shadwell, The Literary Controversy and 'Mac Flecknoe (1668–1679) (Scholars' Facsimiles and Reprints, Inc., Delmar, New York, 1977)
- Stark, Ryan. "John Dryden, New Philosophy, and Rhetoric," in Rhetoric, Science, and Magic in Seventeenth-Century England (Washington: Catholic University of America Press, 2009)
- ISBN 978-1406724882.
- Wilding, Michael, 'Allusion and Innuendo in MacFlecknoe', Essays in Criticism, 19 (1969) 355–70
External links
- Works by John Dryden at Project Gutenberg
- Works by or about John Dryden at Internet Archive
- Works by John Dryden at LibriVox (public domain audiobooks)
- Poems by John Dryden at PoetryFoundation.org
- John Dryden at the National Portrait Gallery, London