See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

JOHN See also:

• JOHN DRYDEN (1631-1700)

DRYDEN (1631-1700)  , See also:

• ENGLISH

English poet, See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born on or about the 9th of See also:

• AUGUST (originally Sextilis)

August 1631, at Aldwinkle, in See also:

• NORTHAMPTONSHIRE

Northamptonshire, was of See also:

• CUMBERLAND
• CUMBERLAND, DUKES AND EARLS OF
• CUMBERLAND, RICHARD (1632-1718)
• CUMBERLAND, RICHARD (1732-1811)
• CUMBERLAND, WILLIAM AUGUSTUS

Cumberland stock, though his See also:

• FAMILY

family had been settled for three generations in Northamptonshire, had acquired estates and a baronetcy, and intermarried with landed families in that See also:

• COUNTY (through Norm. Fr. comae, cf. O. Fr. cunte, conk', Mod. Fr. comae, from Lat. comitatus, cf. Ital. comitato, Prov. comtat; see COUNT)

county . His See also:

• GREAT

great-grandfather, who first carried the name See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south, and acquired by See also:

• MARRIAGE

marriage the See also:

• ESTATE (through O. Fr. estat, mod. flat, from Lat. status, state, condition, position, stare, to stand)

estate of Canons See also:

• ASHBY, TURNER (1824-1862)

Ashby, is said to have known See also:

• ERASMUS, DESIDERIUS (1466–1536)

Erasmus, and to have been so proud of the great See also:

• SCHOLAR, SCHOLARSHIP

scholar's friendship that he gave the name of Erasmus to his eldest son . The name Erasmus was See also:

• BORNE, KARL LUDWIG (1786–1837)

borne by the poet's See also:

• FATHER

father, the third son of See also:

• SIR

Sir Erasmus See also:

• DRYDEN, JOHN (1631-1700)

Dryden . The leanings and connexions of the family were Puritan and See also:

• ANTI, or CAMPA

anti-monarchical . Sir Erasmus Dryden went to See also:

• PRISON (derived through the Fr. from the Lat. prehensio, seizure)

prison rather than pay See also:

• LOAN (adapted from the Scandinavian form of a word common to Teutonic languages, cf. Swed. Mn, Icel. lan, Dut. leen; the O.E. laen appears in " lend," the ultimate source is seen in the root of Gr. Xeiaecv and Lat. linquere, to leave)

loan See also:

• MONEY

money to See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles I.; the poet's See also:

• UNCLE

uncle, Sir See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John Dryden, and his father Erasmus, served on See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government commissions during the See also:

• COMMONWEALTH

Commonwealth . His See also:

• MOTHER

mother's family, the Pickerings, were still more prominent on the Puritan See also:

• SIDE
• SIDE (mod. Eski Adalia)

side . Sir See also:

• GILBERT
• GILBERT (KINGSMILL) ISLANDS
• GILBERT (or GYLBERDE), WILLIAM (1544-1603)
• GILBERT, ALFRED (1854– )
• GILBERT, ANN (1821-1904)
• GILBERT, GROVE KARL (1843– )
• GILBERT, J
• GILBERT, JOHN (1810-1889)
• GILBERT, MARIE DOLORES ELIZA ROSANNA [" LOLA MONTEZ "] (1818-1861)
• GILBERT, NICOLAS JOSEPH LAURENT (1751–1780)
• GILBERT, SIR HUMPHREY (c. 1539-1583)
• GILBERT, SIR JOSEPH HENRY (1817-1901)
• GILBERT, SIR WILLIAM SCHWENK (1836– )

Gilbert See also:

• PICKERING
• PICKERING, EDWARD CHARLES (1846- )
• PICKERING, TIMOTHY (174 1829)

Pickering, his See also:

• COUSIN (Fr. cousin, Ital. cugino, Late Lat. cosinus, perhaps a popular and familiar abbreviation of consobrinus, which has the same sense in classical Latin)
• COUSIN, JEAN (1500-1590)
• COUSIN, VICTOR (1792–1867)

cousin, was See also:

• CHAMBERLAIN (0. Fr. chamberlain, chamberlenc, Mod. Fr. chambellan, from O. H. Ger. Chamarling, Chamarlinc, whence also the Med. Lat. cambellanus, camerlingus, camerlengus; Ital. camerlingo; Span. camerlengo, compounded of 0. H. Ger. Chamara, Kamara [Lat.
• CHAMBERLAIN, JOSEPH (1836— )
• CHAMBERLAIN, JOSHUA LAWRENCE (1828– )
• CHAMBERLAIN, SIR NEVILLE BOWLES (1820-1902)

chamberlain to the See also:

• PROTECTOR

Protector, and was summoned to See also:

• CROMWELL, HENRY (1628-1674)
• CROMWELL, OLIVER (1599-1658)
• CROMWELL, RICHARD (1626–1712)
• CROMWELL, THOMAS, EARL OF

Cromwell's See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House of Lords in 1657 . A trustworthy tradition asserts that John Dryden was born at the rectory of Aldwinkle All See also:

• SAINTS, BATTLE OF THE

Saints, of which his maternal grandfather, See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry Pickering, was See also:

• RECTOR (Lat. for " ruler," " guide," &c., from regere, " rule ")

rector . Dryden's See also:

• EDUCATION

education was such as became a See also:

• SCION

scion of these respectable families of squires and rectors, among whom the See also:

• CHANCE (through the O. Fr. cheance, from the Late Lat. cadentia, things happening, from cadere, to fall out, happen; cf. " case ")

chance contact with Erasmus had See also:

• LEFT

left a certain tradition of scholarship . His father, whose own See also:

• FORTUNE, ROBERT (1813-188o)

fortune, added to his wife's, was not large, procured for the poet, who was the eldest of fourteen See also:

• CHILDREN, LAW RELATING TO

children, See also:

• ADMISSION

admission to See also:

• WESTMINSTER
• WESTMINSTER, MARQUESSES AND DUKES OF
• WESTMINSTER, STATUTES OF
• WESTMINSTER, SYNODS OF

Westminster school as a See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king's scholar, under the famous Dr See also:

• BUSBY
• BUSBY, RICHARD (16o6-1695)

Busby . Some elegiac verses which Dryden wrote there on the See also:

• DEATH

death of a schoolfellow, Henry, See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord See also:

• HASTINGS
• HASTINGS, FRANCIS
• HASTINGS, FRANK ABNEY (1794-1828)
• HASTINGS, WARREN (1732-1818)

Hastings, son of the See also:

• EARL

earl of See also:

• HUNTINGDON
• HUNTINGDON, EARLS OF
• HUNTINGDON, SELINA HASTINGS, COUNTESS OF (1707—1791)

Huntingdon, in 1649, were published in Lacrymae Musarum, among other elegies by " See also:

• DIVERS

divers persons of See also:

• NOBILITY

nobility and See also:

• WORTH
• WORTH, CHARLES FREDERICK (1825-1895)

worth " in See also:

• COMMEMORATION

commemoration of the same event . He appeared soon after again in See also:

• PRINT

print, among writers of commendatory verses to a friend of his, John See also:

• HODDESDON

Hoddesdon, who published a See also:

• VOLUME

volume of Epigrams in 165o .

Dryden's contribution is signed " John Dryden of Trinity C.," as he had gone up from Westminster to See also:

• CAMBRIDGE
• CAMBRIDGE, EARLS AND DUKES OF
• CAMBRIDGE, RICHARD OWEN (1717-1802)

Cambridge in May 165o . He was elected a scholar of Trinity on the Westminster See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation in See also:

• OCTOBER

October of the same See also:

• YEAR

year, and took his degree of B.A. in 1654 . The only recorded incident of his See also:

• COLLEGE (Collegium)

college See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence is some unexplained See also:

• ACT (Lat. actus, actum)

act of disobedience to the See also:

• VICE

vice-See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master, for which he was " put out of See also:

• COMMONS

commons " and " gated " for a fortnight . His father died in 1654, leaving him master of two-thirds of a small estate near See also:

• BLAKESLEY, JOSEPH WILLIAMS (18o8–1885)

Blakesley, worth about £6o a year . The next three years he is said to have spent at Cambridge . In any See also:

• CASE
• CASE, JOHN (d. 1600)

case they were spent somewhere in study; for his first considerable poem bears indisputable marks of scholarly habits, as well as of a command of See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse that could not have been acquired without practice . The See also:

• MIDDLE

middle of 1657 is given as the date of his leaving the university to take up his residence in See also:

• LONDON

London . In one of his many subsequent See also:

• LITERARY

literary quarrels, it was said by See also:

• SHADWELL, THOMAS (c. 1642-1692)

Shadwell that he had been clerk to Sir Gilbert Pickering, his cousin, who was chamberlain to Cromwell; and nothing is more likely than that he obtained some employment under his powerful cousin when he came to London . He is said to have lived at first in the house of his first publisher, Herringman, with whom he was connected till 1679, when See also:

• JACOB
• JACOB, JOHN (1812-1858)

Jacob See also:

• TONSON

Tonson began to publish his books . He first emerged from obscurity with his Heroic Stanzas (1659) to the memory of the Protector . That these stanzas should have made him a name as a poet does not appear surprising when we compare them with See also:

• WALLER, EDMUND (1606-1687)
• WALLER, LEWIS (186o- )
• WALLER, SIR WILLIAM (c. 1597-1668)

Waller's verses on the same occasion . Dryden took some See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time to consider them, and it was impossible that they should not give an impression of his intellectual strength .

See also:

• DONNE, JOHN (1573–1631)

Donne was his See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model; it is obvious that both his See also:

• EAR (common Teut.; O.E. are, Ger. Ohr, Du. oor, akin to Lat. auris, Gr. ovs)

ear and his See also:

• IMAGINATION

imagination were saturated with Donne's elegiac strains when he wrote; yet when we look beneath the See also:

• SURFACE

surface we find unmistakable traces that the See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil was not without decided theories that ran See also:

• COUNTER

counter to the practice of the master . It is plainly not by See also:

• ACCIDENT
• ACCIDENT (from Lat. accidere, to happen)

accident that each See also:

• STANZA (Low Lat. stantia, Ital. stantia or stanza)

stanza contains one clear-cut brilliant point . The poem is an See also:

• ACADEMIC

academic exercise, and it seems to be animated by an under-current of strong contumacious protest against the To those who regard the poet as a seer with a sacred See also:

• MISSION

mission, and refuse the name altogether to a literary manufacturer to See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order, it comes with a certain See also:

• SHOCK, or COLLAPSE

shock to find Dryden, the hereditary Puritan, the panegyrist of Cromwell, hailing the return of King Charles in See also:

• ASTRAEA

Astraea Redux (166o), deploring his See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• ABSENCE (Lat. absentia)

absence, and proclaiming the despair with which he had seen " the See also:

• REBEL, JOHANN PETER (176o-1826)

rebel thrive, the loyal crost." A See also:

• PANEGYRIC

Panegyric on the See also:

• CORONATION (Lat. corona, crown)

Coronation followed in 1661 . From a literary point of view also, Astraea Redux is inferior to the Heroic Stanzas . Dryden was compelled to supplement his slender income by his writings . He naturally first thought of tragedy his own See also:

• GENIUS (from Lat. genere, gignere)

genius, as he has informed us, inclining him rather to that See also:

• SPECIES

species of See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition; and in the first year of the Restoration he wrote a tragedy on the See also:

• FATE

fate of Henry, See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of See also:

• GUISE
• GUISE, HOUSE OF

Guise . But some See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends advised him that its construction was not. suited to the requirements of the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage, so he put it aside, and used only one See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene of the See also:

• ORIGINAL

original See also:

• PLAY

play later on, when he again attempted the subject with a more practised See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand . Having failed to write a suitable tragedy, he next turned his See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention to See also:

• COMEDY

comedy, although, as he admitted, he had little natural turn for it . " I confess," he said, in a See also:

• SHORT, FRANCIS JOB (1857– )

short See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

essay in his own See also:

• DEFENCE
• DEFENCE (Lat. defendere, to defend)

defence, printed before The See also:

• INDIAN

Indian See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

Emperor, " my See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief endeavours are to delight the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age in which I live . If the See also:

• HUMOUR (Latin humor)

humour of this be for See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low comedy, small accidents and raillery, I will force my genius to obey it, though with more reputation I could write in verse . I know I am not so fitted by nature to write comedy; I want that gaiety of humour which is required to it . My conversation is slow and, dull; my humour saturnine and reserved; in short, I am none of those who endeavour to break jests in See also:

• COMPANY

company or make repartees .

So that those who decry my comedies do me no injury, except it be in point of profit; reputation in them is the last thing to which I shall pretend." He was really as well as ostentatiously a playwright; the age demanded comedies, and he endeavoured to See also:

• SUPPLY (through Fr. from Lat. supplere, to fill up)

supply the See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of comedy that the age demanded . His first See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt was unsuccessful . Bustle, intrigue and coarsely humorous See also:

• DIALOGUE

dialogue seemed to him to be See also:

• PART

part of the popular demand; and, looking about for a See also:

• PLOT
• PLOT, ROBERT (164o-1696)

plot, he found some-thing to suit him in a See also:

• SPANISH

Spanish source, and wrote The See also:

• WILD, JONATHAN (c. 1682-1725)

Wild Gallant . The play was acted in See also:

• FEBRUARY

February 1663, by See also:

• THOMAS
• THOMAS (c. 1654-1720)
• THOMAS (d. 110o)
• THOMAS, ARTHUR GORING (1850-1892)
• THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
• THOMAS, GEORGE (c. 1756-1802)
• THOMAS, GEORGE HENRY (1816-187o)
• THOMAS, ISAIAH (1749-1831)
• THOMAS, PIERRE (1634-1698)
• THOMAS, SIDNEY GILCHRIST (1850-1885)
• THOMAS, ST
• THOMAS, THEODORE (1835-1905)
• THOMAS, WILLIAM (d. 1554)

Thomas See also:

• KILLIGREW, SIR HENRY (d. 1603)
• KILLIGREW, THOMAS (1612-1683)

Killigrew's company in See also:

• VERE
• VERE, SIR FRANCIS (1560-1609)

Vere See also:

• STREET
• STREET, GEORGE EDMUND (1824-1881)

Street . It was not a success, and . See also:

• PEPYS, SAMUEL (1633-1703)

Pepys showed See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• JUDGMENT

judgment in pronouncing the play " so poor a thing as ever I saw in my See also:

• LIFE

life." Dryden never learned moderation in his humour; there is a student's clumsiness and extravagance in his indecency; the plays of See also:

• ETHEREDGE [or ETHEREGE], SIR GEORGE (c. 1635-1691)

Etheredge, a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of the See also:

• WORLD

world, have not the uncouth riotousness of Dryden's . Of this he seems to have been conscious, for when the play. was revived, in 1667, he complained in the See also:

• EPILOGUE

epilogue of the difficulty of comic wit, and admitted the right of a See also:

• COMMON

common See also:

• AUDIENCE (from Lat. audire, to hear)

audience to See also:

• JUDGE (Lat. judex, Fr. juge)

judge of the wit's success . Dryden, indeed, took a See also:

• LESSON (through Fr. lecon from Lat. lectio, reading; legere, to read)

lesson from the failure of The Wild Gallant; his next comedy, The See also:

• RIVAL

Rival Ladies, also founded on a Spanish plot, produced before the end of 1663, and printed in the next year, was correctly described by Pepys as " a very See also:

• INNOCENT (INNOCENTIUS)
• INNOCENT (POPES)

innocent and most See also:

• PRETTY

pretty witty play," though there was much in it which the See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste of our time would consider indelicate . But he never quite conquered his tendency to extravagance . The Wild Gallant was not the only victim . The Assignation, or Love in a Nunnery, produced in 1673, shared the same fate; and even as See also:

• LATE

late as 168o, when he had had twenty years' experience to See also:

• GUIDE (in Mid. Eng. gyde, from the Fr. guide; the earlier French form was guie, English " guy," the d was due to the Italian form guida; the ultimate origin is probably Teutonic, the word being connected with the base seen in O. Eng. witan, to know)

guide him, The Kind Keeper, or Mr See also:

• LIMBER

Limber-See also:

• HAM

ham was prohibited, after three representations, as being too indecent for the stage . Dislike to indecency we are See also:

• APT

apt to think a somewhat ludicrous pretext to be made by Restoration play-goers, and probably there was some other See also:

• REASON (Lat. ratio, through French raison)

reason for the See also:

• SACRIFICE (from Lat. sacrificium; sacer, holy, and facere, to make)

sacrifice of Limberham; still there is a certain savageness in the spirit of Dryden's indecency which we do not find in his most licentious contemporaries .

The undisciplined force of the man carried him to an excess from which more dexterous writers held back . II After the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of The Rival Ladies in 1663, Dryden assisted Sir See also:

• ROBERT
• ROBERT (1275—1343)
• ROBERT, HUBERT (1753-1808)
• ROBERT, LOUIS LEOPOLD (1794-1835)

Robert See also:

• HOWARD (FAMILY)
• HOWARD, CATHERINE (d. 1542)
• HOWARD, JOHN (1726-1790)
• HOWARD, LORD WILLIAM (1563–1640)
• HOWARD, OLIVER OTIS (1830-19o9)
• HOWARD, SIR ROBERT (1626–1698)

Howard in the composition of a tragedy in heroic verse, The Indian See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

Queen, produced with great splendour in See also:

• JANUARY

January 1664 . He married See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth Howard, Sir Robert's See also:

• SISTER

sister and daughter of the 1st earl of See also:

• BERKSHIRE [abbreviated Berks, pronounced Berkshire]
• BERKSHIRE, THOMAS HOWARD, 1ST EARL OF (1587–1669)

Berkshire, on the 1st of See also:

• DECEMBER (Lat. decent, ten)

December 1663 . Lady Elizabeth's reputation was some-what compromised before this See also:

• UNION
• UNION (known locally as Union Hill and officially as Town of Union)

union, which was not a happy one, and there is some See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence for the See also:

• SCANDAL

scandal in a See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter written by her before her marriage to See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip, and earl of See also:

• CHESTERFIELD
• CHESTERFIELD, PHILIP DORMER STANHOPE, 4TH EARL, OF (1694–1773)

Chesterfield . The Indian Queen was a great success, one of the greatest since the reopening of the theatres . This was in all likelihood due much less to the heroic verse and the exclusion of comic scenes from the tragedy than to the magnificent scenic accessories—the battles and sacrifices on the stage, the See also:

• SPIRITS

spirits singing in the See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air, and the See also:

• GOD

god of dreams ascending through a See also:

• TRAP (0. Eng. treppe or traepee, properly a step, as that or which an animal places its foot and is caught, cf. Ger. Treppe flight of stairs)

trap . The novelty of these Indian See also:

• SPECTACLES

spectacles, as well as of the Indian characters, with the splendid Queen Zempoalla, acted by Mrs See also:

• MARSHALL
• MARSHALL, ALFRED (1842– )
• MARSHALL, JOHN (1755–1835)
• MARSHALL, JOHN (1818-1891)
• MARSHALL, STEPHEN (c. 1594-1655)

Marshall in a real Indian See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress of feathers presented to her by Mrs Aphra See also:

• BEHN, APHRA (otherwise AFRA, APHARA or AYFARA) (164o-1689)

Behn, as the centre of the play, was the chief See also:

• SECRET (Lat. secretum, hidden, concealed)

secret of the success of The Indian Queen .. These melodramatic properties were so marked a novelty that they could not fail to draw the See also:

• TOWN

town . Dryden was tempted to return to tragedy; he followed up The Indian Queen with The Indian Emperor, or the See also:

• CONQUEST

Conquest of See also:

• MEXICO
• MEXICO (Span. Mejico, or Mexico,)
• MEXICO, FEDERAL DISTRICT OF
• MEXICO, GULF OF

Mexico by the Spaniards, which was acted in 1665, and also proved a success . But Dryden was not content with See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing tragedies in rhymed verse . He took up the question of the propriety of See also:

• RHYME

rhyme in serious plays immediately after the success of The Indian Queen, in the See also:

• PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface to an edition (1664) of The Rival Ladies . In that first statement of his case, he considered the chief objection to the use of rhyme, and urged his chief See also:

• ARGUMENT

argument in its favour .

Rhyme was not natural, some See also:

• PEOPLE

people had said; to which he answers that it is as natural as See also:

• BLANK (from the Fr. blanc, white)

blank verse, and that much of its unnaturalness is not the See also:

• FAULT (Mid. Eng. faute, through the French, from the popular Latin use of fallere, to fail; the originallof the Latin being replaced in English in the 15th century)

fault of the rhyme but of the writer, who has not sufficient command of See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language to rhyme easily . In favour of rhyme he has to say that it at once stimulates the imagination, and prevents it from being too discursive in its flights . During the Great See also:

• PLAGUE (in Gr. Xotµos; in Lat. pestis, pestilentia)

Plague, when the theatres were closed, and Dryden was living at Charlton, See also:

• WILTSHIRE [WILTS]

Wiltshire, at the seat of his father-in-See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law, the earl of Berkshire, he occupied a considerable part of his time in thinking over the principles of dramatic composition, and threw his conclusions into the See also:

• FORM (Lat. forma)

form of a dialogue, which he called an Essay of Dramatick Poesie and published in 1668 . The essay takes the form of a dialogue between See also:

• NEANDER, JOACHIM (1650–1680)
• NEANDER, JOHANN AUGUST WILHELM (1789-1850)

Neander (Dryden), See also:

• EUGENIUS

Eugenius (Charles, Lord Buckhurst, afterwards earl of See also:

• DORSET, EARLS, MARQUESSES AND DUKES OF

Dorset), Crites (Sir R . Howard), and Lisideius (Sir C . See also:

• SEDLEY, SIR CHARLES (c. 1639-1701)

Sedley), who is made responsible for the famous See also:

• DEFINITION (Lat. definitio, from de-finire, to set limits to, describe)

definition of a play as a " just and lively See also:

• IMAGE (Lat. imago, perhaps from the same root as imitari, copy, imitate)

image of human nature, representing its passions and humours, and the changes of fortune to which it is subject, for the delight and instruction of mankind." Dryden's form is of course borrowed from the ancients, and his See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main source is tha See also:

• CRITICAL (in alphabetical order of authors)

critical See also:

• WORK

work of See also:

• CORNEILLE, PIERRE (1606–1684)
• CORNEILLE, THOMAS (1625-1709)

Corneille in the prefaces and discourses contained in the edition of 1660, but he was well acquainted with the whole See also:

• BODY

body of contemporary See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French and Spanish See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism . Crites maintains the superiority of the classical See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama; Lisideius supports the exacting rules of French dramatic writing; Neander defends the English drama of the preceding generations, including, in a long speech, an examination of See also:

• BEN (from Old Eng. bennan, within)

Ben See also:

• JONSON

Jonson's Silent Woman . Neander argues, however, that English drama has much to gain by the observance of exact methods of construction without abandoning entirely the See also:

• LIBERTY (Lat. libertas, from liber, free)

liberty which English writers had always claimed . He then goes on to defend the use of rhyme in serious drama . Howard had argued against the use of rhyme in a " preface " to Four New Plays (1665), which had furnished the excuse for Dryden's essay . Howard replied to Dryden's essay in a preface to The Duke of See also:

• LERMA, FRANCISCO DE SANDOVAL Y ROJAS, DUKE OF (1552–1625)

Lerma (1668) . Dryden at once replied in a masterpiece of sarcastic See also:

• RETORT (Lat. retorquere, to twist or turn back)

retort and vigorous reasoning, A Defence of an Essay of Dramatique Poesie, prefixed to the second edition (1668) of The Indian Emperor .

It is the ablest and most See also:

• COMPLETE

complete statement of his views about the employment of rhymed couplets in tragedy . Before his return to town at the end of 1666, when the theatres (which had been closed during the disasters of 1665 and 1666) were reopened, Dryden wrote a poem on the Dutch See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war and the Great See also:

• FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

Fire entitled Annus Mirabilis . The poem is in quatrains, the See also:

• METRE ((terpuc?, sc. rFxvf, from Gr. Or poi', measure)

metre of his Heroic Stanzas in praise of Cromwell, which Dryden See also:

• CHOSE (Fr. for " thing ")

chose, he tells us, " because he had ever judged it more See also:

• NOBLE, SIR ANDREW (1832- )

noble and of greater dignity both for the See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound and number than any other verse in use amongst us." The preface to the poem contains an interesting discussion of what he calls "wit-writing," introduced by the remark that " the composition of all poems is or ought to be of wit." His description of the Great Fire is a famous specimen of this wit-writing, much more careless and daring, and much more difficult to sympathize with, than the graver conceits in his panegyric of the See also:

• PRO

Pro= tector . In Annus Mirabilis the poet apostrophizes the newly founded Royal Society, of which he had been elected a member in 1662 . From the reopening of the theatres in 1666 till See also:

• NOVEMBER (Lat. novem, nine)

November 1681, the date of his See also:

• ABSALOM (Hebrew for " father of [or is] peace ")

Absalom and Achitophel, Dryden produced nothing but plays . The stage was his chief source of income . Secret Love, or the See also:

• MAIDEN, or MAID

Maiden Queen, a tragi-comedy, produced in See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1667, was based on an See also:

• EPISODE

episode in the Artamene, ou le See also:

• GRAND

Grand See also:

• CYRUS
• CYRUS (Gr. KDpos; Pers. Kuru-sh; Babyl. Kurash; Hebr. Koresh)

Cyrus of Mlle de See also:

• SCUDERY

Scudery, the See also:

• HISTORICAL

historical original of the " Maiden Queen" being See also:

• CHRISTINA (1626–1689)
• CHRISTINA [MARIA CHRISTINA HENRIETTA DESIREE FELICITE RENIERE]

Christina, queen of See also:

• SWEDEN
• SWEDEN [Sverige]
• SWEDEN, NORWAY AND

Sweden . The See also:

• PROLOGUE (from Gr. 7rpo, before, and Myer, a word)

prologue claims that the piece is written with pains and thought, by the exactest rules, with strict observance of the unities, and " a mingled See also:

• CHIME

chime of Jonson's humour and of Corneille's rhyme "; but it owed its success chiefly to the See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm of Nell See also:

• GWYN, NELL [ELEANOR] (1650-1687)

Gwyn's acting in the part of Florimel . It is noticeable that only the more passionate parts of the dialogue are rhymed, Dryden's theory apparently being that rhyme is then demanded for the See also:

• ELEVATION

elevation of the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style . His next play, Sir See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin See also:

• MAR, EARLDOM OF
• MAR, JOHN ERSKINE, 1ST OR 6TH EARL OF (d. 1572)
• MAR, JOHN ERSKINE, 2ND OR 7TH EARL
• MAR, JOHN ERSKINE, 6TH OR 11TH EARL OF (1675-1732)

Mar-all, or the Feigned Innocence, an See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation in See also:

• PROSE

prose of the duke of See also:

• NEWCASTLE
• NEWCASTLE, DUKES OF

Newcastle's See also:

• TRANSLATION

translation of See also:

• MOLIERE (1622-1673)

Moliere's L'Etourdi, was produced at the Duke's See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre, without the author's name, in 1667 . It was about this time that Dryden became a retained writer under See also:

• CONTRACT
• CONTRACT (Lat. contract us, from contrahere, to draw together, to bind)

contract for the King's theatre, receiving from it £300 or f400 a year, till it was burnt down in 1672, and about £200 for six years more till the beginning of 1678 . His co-operation with See also:

• DAVENANT (or D'AVENANT), SIR WILLIAM (1606-1668)
• DAVENANT, CHARLES (1656-1714)

Davenant in a new version (1667) of See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare's See also:

• TEMPEST, MARIE (1866– )

Tempest —for his See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share in which Dryden can hardly be pardoned on the ground that the chief alterations were happy thoughts of Davenant's, seeing that he affirms he never worked at anything with more delight—must also be supposed to be anterior to the completion of his contract with the Theatre Royal .

He was engaged to write three plays a year, and he contributed only ten plays during the ten years of his engagement, finally exhausting the See also:

• PATIENCE

patience of his partners by joining in the composition of a play for the rival house . In adapting L'Etourdi, Dryden did not catch Moliere's lightness of See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch; his alterations go towards making the comedy into a See also:

• FARCE

farce . Perhaps all the more on this See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account Sir Martin Mar-all had a great run at the theatre in See also:

• LINCOLN
• LINCOLN, ABRAHAM (1809-1865)
• LINCOLN, EARLS OF

Lincoln's See also:

• INN

Inn See also:

• FIELDS, JAMES THOMAS (1817-1881)

Fields . There is always a certain coarseness in Dryden's humour, apart from the coarseness of his age,—a certain forcible roughness of touch which belongs to the See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of the man . His An Evening's Love, or the See also:

• MOCK

Mock Astrologer, an adaptation from Le Feint Astrologee of the younger Corneille, produced at the King's theatre in 1668, seemed to Pepys " very smutty, and nothing so good as The Maiden Queen or The Indian Emperor of Dryden's making." See also:

• EVELYN, JOHN (1620-1706)

Evelyn thought it foolish and profane, and was grieved " to see how the stage was degenerated and polluted by the licentious times." Ladies d la Mode, another of Dryden's contract comedies, produced in 1668, was " so mean a thing," Pepys says, that it was only once acted, and Dryden never published it . Of his other comedies, Marriage a la Mode (produced 1672), The Assignation, or Love in a Nunnery (1673), The Kind Keeper, or Mr Limberham (1678), only the first was moderately successful . While Dryden met with such indifferent success in his willing efforts to supply the demand of the age for "low comedy, he struck upon a really popular and profitable vein in heroic tragedy . Tyrannic Love, or the Royal See also:

• MARTYR (Gr. pimp or µaprvs)

Martyr, a See also:

• ROMAN

Roman play dealing with the persecution of the Christians by Maximin, in which St See also:

• CATHERINE
• CATHERINE, SAINT

Catherine is introduced, and with her some supernatural machinery, was produced in 1669 . It is in rhymed couplets, but the author again did not See also:

• TRUST

trust solely for success to them; for, besides the magic incantations, the singing angels, and the view of See also:

• PARADISE (Gr. lrap6BEwos)

Paradise, he made Nell Gwyn, who had stabbed herself as See also:

• VALERIA, VIA

Valeria, start to life again as she was being carried off the stage, and speak a riotous epilogue, in violent contrast to the serious character of the play . Almanzor and Almahide, or the Conquest of See also:

• GRANADA
• GRANADA, LUIS DE (1504-1588)

Granada, a tragedy in two parts, was written in 1669 to 1670 . The historical background is taken chiefly from Mlle de Scudery's See also:

• ROMANCE

romance of Almahide, but Dryden borrows freely from other books of hers and her contemporaries . This piece seems to have given the crowning touch of provocation to the. wits, who had never ceased to ridicule the popular taste for these extravagant heroic plays .

Dryden almost invited See also:

• BURLESQUE (Ital. burlesco, from burla, a joke, fun, playful trick)

burlesque in his epilogue to the second part of The Conquest of Granada, in which he charged the comedy of the Elizabethan age with coarseness and See also:

• MECHANICAL

mechanical humour, and its conceptions of love and See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour with meanness, and claimed for his own time and his own plays an advance in these respects . The See also:

• REHEARSAL (from " rehearse," to say over again, repeat, recount, O.Fr. rehercer, from re, again, and hercer, to harrow, cf. " hearse," the original meaning being to rake or go over the same ground again as with a harrow)

Rehearsal, written by the duke of See also:

• BUCKINGHAM
• BUCKINGHAM, EARLS, MARQUESSES AND DUKES OF
• BUCKINGHAM, FIRST DUKE
• BUCKINGHAM, GEORGE VILLIERS, 1ST DUKE 0E1
• BUCKINGHAM, GEORGE VILLIERS, 2ND DUKE 0E1 (1628-1687)
• BUCKINGHAM, HENRY STAFFORD, 2ND DUKE OF3 (1454-1483)
• BUCKINGHAM, JAMES SILK (1786-1855)

Buckingham, with the assistance, it was said, of See also:

• SAMUEL

Samuel See also:

• BUTLER
• BUTLER (or BOTELER), SAMUEL (1612–168o)
• BUTLER (through the O. Fr. bouteillier, from the Late Lat. buticularius, buticula, a bottle)
• BUTLER, ALBAN (1710-1773)
• BUTLER, BENJAMIN FRANKLIN (1818-1893)
• BUTLER, CHARLES (1750–1832)
• BUTLER, GEORGE (1774-1853)
• BUTLER, JOSEPH (1692-1752)
• BUTLER, NICHOLAS MURRAY (1862– )
• BUTLER, SAMUEL (1774-1839)
• BUTLER, SAMUEL (1835-1902)
• BUTLER, SIR WILLIAM FRANCIS (1838– )
• BUTLER, WILLIAM ARCHER (1814-1848)

Butler, Martin See also:

• CLIFFORD
• CLIFFORD, JOHN (1836- )
• CLIFFORD, WILLIAM KINGDON (1845-1879)

Clifford, Thomas See also:

• SPRAT
• SPRAT, THOMAS ( 1635-1713)

Sprat and others, and produced in 1671, was a severe and just See also:

• PUNISHMENT (from Lat. punire, to punish, from poena, punishment, Gr. 7rocvil)

punishment for this boast . Davenant was originally the See also:

• HERO (Gr. open)
• HERO, THE YOUNGER

hero, but on his death in 1668 the See also:

• SATIRE (Lat. satira, satura; see below)

satire was turned upon Dryden, who is here unmercifully ridiculed under the name of Bayes, the name being justified by his See also:

• APPOINTMENT, POWER OF

appointment in 1670 as poet See also:

• LAUREATE (Lat. laureatus, from laurea, the laurel tree)

laureate and historiographer to the king (with a See also:

• PENSION (Lat. pensio, a payment, from pendere, to weigh, to pay)

pension of £300 a year and a See also:

• BUTT
• BUTT, ISAAC (1813-1879)

butt of See also:

• CANARY
• CANARY (Serinus canarius)

canary See also:

• WINE (Lat. vinum, Gr. oivos)

wine) . It is said that The Rehearsal was begun in 1663 and ready for See also:

• REPRESENTATION

representation before the plague . But this probably only means that Buckingham and his friends had resolved to burlesque the absurdities of Davenant's operatic heroes in The See also:

• SIEGE (0. Fr. sege, siege, mod. siege, seat, ultimately from sedere, to sit, cf. Class. Lat. obsidium, a siege)

Siege of See also:

• RHODES
• RHODES, CECIL JOHN (1853-1902)
• RHODES, JAMES FORD

Rhodes, and. the extravagant heroics of The Indian Queen . Materials accumulated upon them as the See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion continued, and by the time Dryden had produced his Tyrannic Love, and his Conquest of Granada, he had so established himself as the chief offender as to become naturally the central figure of the burlesque . Later Dryden fully avenged himself on Buckingham by his portrait of Zimri in Absalom and Achitophel . His immediate reply is contained in the preface " Of Heroic Plays " and the " Defence of the Epilogue," printed in the first edition (1672) of his Conquest of Granada . In these, so far from laughing with his censors, he addresses them from the See also:

• EMINENCE (Lat. eminentia)

eminence of success . " But I have already swept the stakes; and, with the common good fortune of prosperous gamesters, can be content to sit quietly; to hear my fortune cursed by some, and my faults arraigned by others, and to suffer both without reply." Heroic verse, he assures them, is so established that few tragedies are likely henceforward to be written in any other metre . In the course of a year or two The Conquest of Granada was attacked also by Elkanah See also:

• SETTLE
• SETTLE, ELKANAH (1648–1724)

Settle, on whom Dryden revenged himself later, making him the " Doeg " of the second part of Absalom, and Achitophel . His next tragedy, See also:

• AMBOYNA (Dutch Ambon)

Amboyna (1673), an See also:

• EXHIBITION

exhibition of certain atrocities committed by the Dutch on English merchants in the See also:

• EAST
• EAST, ALFRED (1849- )

East Indies, put on the stage to inflame the public mind in view of the Dutch war, was written, with the exception of a few passages, in prose, and those passages in blank verse .

An See also:

• OPERA (Italian for " work ")

opera which he wrote in rhymed couplets, called The See also:

• STATE
• STATE, GREAT OFFICERS OF

State of Innocence, and Fall of Man, an attempt to turn part of Paradise Lost into rhyme, as a See also:

• PROOF (in M. Eng. preove, proeve, preve, &°c., from O. Fr . prueve, proeve, &c., mod. preuve, Late. Lat. proba, probate, to prove, to test the goodness of anything, probus, good)

proof of its superiority to blank verse, was prefaced by an " See also:

• APOLOGY (from Gr. &aoXoyia, defence)

Apology for Heroique See also:

• POETRY

Poetry and Poetique See also:

• LICENCE (through the French from Lat. licentia, licere, to be lawful)

Licence," and entered at Stationers' See also:

• HALL
• HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
• HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
• HALL, BASIL (1788-1844)
• HALL, CARL CHRISTIAN (1812–1888)
• HALL, CHARLES FRANCIS (1821-1871)
• HALL, CHRISTOPHER NEWMAN (1816—19oz)
• HALL, EDWARD (c. 1498-1547)
• HALL, FITZEDWARD (1825-1901)
• HALL, ISAAC HOLLISTER (1837-1896)
• HALL, JAMES (1793–1868)
• HALL, JAMES (1811–1898)
• HALL, JOSEPH (1574-1656)
• HALL, MARSHALL (1790-1857)
• HALL, ROBERT (1764-1831)
• HALL, SAMUEL CARTER (5800-5889)
• HALL, SIR JAMES (1761-1832)
• HALL, WILLIAM EDWARD (1835-1894)

Hall in 1674, but it was never acted . The redeeming circumstance about the performance is the admiration professed by the adapter for his original, which he pronounces " undoubtedly one of the greatest, most noble and most See also:

• SUBLIME (Lat. sublimis, exalted)

sublime poems which either this age or nation has produced." Dryden is said to have had the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder poet's leave " to tag his verses." In Aurengzebe, which was Dryden's last, and also his best, rhymed tragedy, he borrowed from contemporary See also:

• HISTORY

history, for the Great Mogu4 was See also:

• STILT

stilt living . In the prologuehe confessed that he had grown weary of his long-loved See also:

• MISTRESS

mistress rhyme and retracted, with characteristic frankness, his disparaging contrast of the Elizabethan with his own age . But the stings of The Rehearsal had stimulated him to do his utmost to justify his devotion to his mistress, and he claims that Aurengzebe is the most correct " of his plays . It was entered at Stationers' Hall and probably acted in 1695, and published in the following year . After the production of Aurengzebe he seems to have rested for an See also:

• INTERVAL

interval from writing, enabled to do so, probably by an additional pension of £See also:

• LOO (formerly called " Lanterloo," Fr. lanturlu, the refrain of a popular 17th-century song)

loo granted to him by the king . During this interval he would seem to have reconsidered the principles of dramatic composition, and to have made a particular study of the See also:

• WORKS

works of Shakespeare . The fruits of this appeared in All for Love, or the World Well Lost, a version of the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story of Antony and See also:

• CLEOPATRA

Cleopatra, produced in 1678, which must be regarded as a very remarkable departure for a man of his age, and a wonderful proof of undiminished openness and plasticity of mind . In his previous writings on dramatic theory, Dryden, while admiring the rhyme of the French dramatists as an advance in See also:

• ART

art, did not give unqualified praise to the regularity of their plots; he was disposed to allow the irregular structure of the Elizabethan dramatists, as being more favourable to variety both of See also:

• ACTION

action and of character . , But now, in See also:

• FRANK, JAKOB (1726-1791)

frank See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation of Shakespeare, he abandoned rhyme, and, if we might judge from All for Love, and the precepts laid down in his " Grounds of Criticism in Tragedy," prefixed to See also:

• TROILUS

Troilus and Cressida (1679), the chief point in which he aimed at excelling the Elizabethans was in giving greater unity to his plot . He upheld still the superiority of Shakespeare to the French dramatists in the delineation of character, but he thought that the See also:

• SCOPE (through Ital. scopo, aim, purpose, intent, from Gr. o'KOaos, mark to shoot at, aim, o ic07reiv, to see, whence the termination in telescope, microscope, &c.)

scope of the action might be restricted, and the parts See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound more closely together with See also:

• ADVANTAGE

advantage . All for Love and Antony and Cleopatra are two excellent plays for the comparison of the two methods .

Dryden gave all his strength to All for Love, writing the play for himself, as he said, and not for the public . Carrying out the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea ex-pressed in the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title, he represents the two. lovers as being more entirely under the dominion of love than Shakespeare's Antony and Cleopatra . Shakespeare's Antony is moved by other impulses than the See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion for Cleopatra; it is his master See also:

• MOTIVE (from Lat. movere, to move)

motive, but it has to maintain a struggle for supremacy; " Roman thoughts " strike in upon him even in the very height of the enjoyment of his mistress's love, he chafes under the yoke, and breaks away from her of his own impulse at the See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call of spontaneously reawakened ambition . Dryden's Antony is so deeply sunk in love that no other impulse has See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power to stir him; it takes much persuasion and skilful artifice to detach him from Cleopatra even in thought, and his soul returns to her violently before the rupture has been completed . On the other hand, Dryden's Cleopatra is so completely enslaved by love for Antony that she is incapable of using the calculated caprices and meretricious coquetries which Shakespeare's Cleopatra deliberately practises as the highest art of love, the surest way of maintaining her See also:

• EMPIRE

empire over her great See also:

• CAPTAIN (derived from Lat. ca put, head, through the Low Lat. capitanus)

captain's See also:

• HEART
• HEART, LUNG

heart . It is with difficulty that Dryden's Cleopatra will agree, on the See also:

• EARNEST (probably a corruption of the obsolete arles or erles, adapted from Lat. equivalent arrha, due to a confusion with the adjective " earnest," serious, O. Eng. eornust, cognate with Ger. ernst)

earnest solicitation of a wily counsellor, to feign a liking for See also:

• DOLABELLA, PUBLIUS CORNELIUS

Dolabella to excite Antony's See also:

• JEALOUSY (adapted from Fr. jalousie, formed from jaloux, jealous, Low Lat. zelosus, Gr. j'i os, ardour, zeal, from the root seen in '&u', to boil, ferment; cf. " yeast ")

jealousy, and she cannot keep up the pretence through a few sentences . The characters of the two lovers are thus very much contracted, indeed almost overwhelmed, beneath the pressure of the one ruling motive . And as Dryden thus introduces a greater regularity of character into the drama, so he also very much contracts the action, in order to give See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability to this temporary subjugation of individual character . The action of Dryden's play takes See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place wholly in See also:

• ALEXANDRIA
• ALEXANDRIA (Arab. Iskenderia)

Alexandria, within the See also:

• COMPASS (Fr. corn pas, ultimately from Lat. cum, with, and passus, step)

compass of a few days; it does not, like Shakespeare's, extend over several years, and See also:

• PRESENT

present incessant changes of scene . Dryden chooses, as it were, a fragment of a historical action, a single moment during which motives play within a narrow circle, the culminating point in the relations between his two personages . He devotes his whole play, also, to those relations; only what bears upon them is admitted . In Shakespeare's play we get a certain historical See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective, in which the love of Antony and Cleopatra appears 'in its true proportions beneath the See also:

• FIRMAMENT

firmament that overhangs human affairs .

In Dryden's play this love is our universe; all the other concerns of the world retire into a shadowy, indistinct background . If we rise from a comparison of the plays with an impression that the Elizabethan drama is a higher type of drama, taking Dryden's own definition of the word as " a just and lively image of human nature," we rise also with an impression of Dryden's power such as we get from nothing else that he had written since his Heroic Stanzas, twenty years before . It was twelve years before Dryden produced another tragedy worthy of the power shown in All for Love . See also:

• DON
• DON (anc. Tanais)

Don See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian was acted and published in i6go . In the interval, to sum up briefly Dryden's work as a dramatist, he wrote See also:

• OEDIPUS (OiSiirovs, O16tir63i7s, Wines, from Gr. ot&eiv swell, and gobs foot, i.e. " the swollen-footed ")

Oedipus (pr . 1679) and The Duke of Guise (pr . 1683) in See also:

• CONJUNCTION (from Lat. conjungere, to join together)

conjunction with Nathaniel See also:

• LEE
• LEE (or LEGIT) ROWLAND (d. 1543)
• LEE, ANN (1736–1784)
• LEE, ARTHUR (1740–1792)
• LEE, FITZHUGH (1835–1905)
• LEE, GEORGE ALEXANDER (1802-1851)
• LEE, HENRY (1756-1818)
• LEE, JAMES PRINCE (1804-1869)
• LEE, NATHANIEL (c. 1653-16g2)
• LEE, RICHARD HENRY (1732-1794)
• LEE, ROBERT EDWARD (1807–1870)
• LEE, SIDNEY (1859– )
• LEE, SOPHIA (1950-1824)
• LEE, STEPHEN DILL (1833-1908)

Lee; Troilus and Cressida (1679); The Spanish See also:

• FRIAR (from the Lat. (rater, through the Fr. frere)

Friar (1681) ; See also:

• ALBION
• ALBION (in Ptolemy 'A)wviw; Lat. Albion, Pliny 4.16[301,102)

Albion and Albanius, an opera (1685); See also:

• AMPHITRYON

Amphitryon (16go) . In Troilus and Cressida he follows Shakespeare closely in the plot, but the dialogue is rewritten throughout, and not for the better . The versification and the language of the first and the third acts of Oedipus, which with the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan of the play were Dryden's contribution to the See also:

• JOINT (through Fr. from Lat. junctum, jungere, to join)

joint work, See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear marked evidence of his See also:

• RECENT

recent study of Shakespeare . The Duke of Guise provided an obvious parallel with contemporary English politics . Henry III. was identified with Charles II., and See also:

• MONMOUTH (Welsh Mynwy)
• MONMOUTH, BATTLE OF (1778)
• MONMOUTH, JAMES SCOTT
• MONMOUTH, ROBERT CAREY, 1ST EARL OF (c. 1560-1639)

Monmouth with the duke . The lord chamberlain refused to license it until the See also:

• POLITICAL

political situation was less disturbed .

The plot of Don Sebastian is more intricate than that of All for Love . It has also more of the characteristics of his heroic dramas; the extravagance of sentiment and the suddenness of impulse remind us occasionally of The Indian Emperor; but the characters are much more elaborately studied than in Dryden's earlier plays, and the verse is sinewy and powerful . It would be difficult to say whether Don Sebastian or All for Love is his best play; they share the See also:

• PALM (Lat. palma, Gr. iraX6.jn )
• PALM, JOHANN PHILIPP (1768-1806)

palm between them . Dryden's subsequent plays are not remarkable . Their titles and See also:

• DATES

dates are—King See also:

• ARTHUR (Fr. Arius)
• ARTHUR, CHESTER ALAN (1830 – 1886)

Arthur, an opera (1691), for which See also:

• PURCELL, HENRY (1658-1695)

Purcell wrote the See also:

• MUSIC

music; Cleomenes (1692); Love Triumphant (1694) . Soon after Dryden's See also:

• ABANDONMENT (Fr. abandonnement, from abandonner, to abandon, relinquish; abandonner was originally equivalent to mettred banddn, to leave to the jurisdiction, i.e. of another, bandon being from Low Latin bandum, bannum, order, decree, " ban ")

abandonment of heroic couplets in tragedy, he found new and more congenial work for his favourite See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument in satire . As usual the idea was not original to Dryden, though he struck in with his majestic step and See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy divine, and immediately took the See also:

• LEAD
• LEAD (pronounced iced)

lead . The See also:

• PIONEER

pioneer was See also:

• MULGRAVE, EARLDOM OF

Mulgrave in his Essay on Satire, an attack on See also:

• ROCHESTER
• ROCHESTER, JOHN WILMOT, 2ND EARL
• ROCHESTER, LAWRENCE HYDE, EARL OF (1641-1711)

Rochester and the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court, which was circulated in MS. in 1679 . Dryden himself was suspected of the authorship, and it is not impossible that he gave some help in revising it; but it is not likely that he attacked the king on whom he was dependent for the greater part of his income, and Mulgrave in a See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note to his Art of Poetry in 1717 expressly asserts Dryden's See also:

• IGNORANCE (Lat. ignorantia, from ignorare, not to know); want of knowledge, a state of mind which in law has important consequences. A well-known legal maxim runs: ignorantia juris non excusat ("ignorance of the law does not excuse")

ignorance . Dryden; however, was attacked in See also:

• ROSE
• ROSE (Rosa)
• ROSE, GEORGE (1744-1818)
• ROSE, HUGH JAMES (1795—1838)
• ROSE, WILLIAM STEWART (1775-1843)

Rose Street, Covent See also:

• GARDEN (from O. Fr. garden, mod. Fr. jardin; this, like our words " garth," a paddock attached to a building, and " yard," comes from a Teutonic word for an enclosure which appears in Gothic as gards and O. H. Ger. gart, cf. Dutch gaarde and Ger. .garten)

Garden, and severely cudgelled by a company of ruffians who were generally supposed to have been hired by Rochester . In the same year See also:

• OLDHAM
• OLDHAM, JOHN (1653–1683)
• OLDHAM, THOMAS (1816–1878)

Oldham's satire on the See also:

• JESUITS

Jesuits had immense popularity, chiefly owing to the excitement about the Popish plot . Dryden took the See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field as a satirist towards the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of 1681, on the side of the court, at the moment when See also:

• SHAFTESBURY
• SHAFTESBURY, ANTHONY ASHLEY COOPER, 1ST EARL OF (1621-1683)
• SHAFTESBURY, ANTHONY ASHLEY COOPER, 7TH EARL OF (1801–1885)
• SHAFTESBURY, ANTHONYASHLEY COOPER, 3RD EARL OF (1671-1713)

Shaftesbury, baffled in his efforts to exclude the duke of See also:

• YORK
• YORK (HOUSE OF)
• YORK, EDMUND OF LANGLEY, DUKE OF (1341-1402)
• YORK, EDWARD
• YORK, FREDERICK AUGUSTUS, DUKE OF (1763-1827)
• YORK, RICHARD, DUKE

York from the See also:

• THRONE

throne as a papist, and secure the See also:

• SUCCESSION (Lat. successio, from succedere, to follow after)

succession of the duke of Monmouth, was waiting his trial for high See also:

• TREASON (Fr. trahison, Lat. traditio)

treason .

Absalom and Achitophel produced a great stir . Nine See also:

• EDITIONS

editions were sold in rapid succession in the course of a year . There was no compunction in Dryden's ridicule and invectivh . ,Delicate wit was not one of Dryden's gifts; the motions of his weapon were sweeping, and the blows hard and trenchant . The advantage he had gained by his recent studies of character was fully used in his portraits of Shaftesbury and Buckingham, Achitophel and Zimri . In these portraits he shows considerable art in the introduction of redeeeming traits to the general outline of malignity and depravity . It is not impossible that the fact that his pension had not been paid since the beginning of 168o weighed with him in writing this satire to gain the favour of the court . In a play produced in 1681, The Spanish Friar, he hadwritten on the other side, gratifying the popular feeling by attacking the Roman See also:

• CATHOLIC (Gr. KcaBoXuK6s, general, universal)

Catholic priesthood . Three other satires followed Absalom and Achitophel, one of them hardly inferior in point of literary power . The Medall; a Satyre against See also:

• SEDITION (Lat. se or sed, apart, and ire, to go, a going apart, dissension)

Sedition (March 1682) was. written in ridicule of the See also:

• MEDAL (Fr. medaille, from Lat. metallum)

medal struck to commemorate Shaftesbury's acquittal . Then Dryden had to take vengeance on the literary champions of the Whig party who had opened upon him with all their See also:

• ARTILLERY (the O. Fr. artiller, to equip with engines of war, probably comes from Late Lat. articulum, dim. of ars, art, cf. " engine " from ingenium, or of artus, joint)

artillery . Their See also:

• LEADER, BENJAMIN WILLIAMS (1831– )

leader, Shadwell, had attacked him in The Medal of John Bayes, which Dryden answered in October 1682 by Mac See also:

• FLECKNOE, RICHARD (c. 1600-1678?)

Flecknoe, or a Satyr upon the True-Blew See also:

• PROTESTANT

Protestant Poet, T.S .

This satire, in which Shadwell filled the title-role, served as the model of the Dunciad . To the second part of Absalom and Achitophel (November 1682), written chiefly by See also:

• NAHUM (Hebrew for " rich in comfort [is God] ")

Nahum See also:

• TATE, JAMES (1771-1843)
• TATE, NAHUM (1652-1715)
• TATE, RALPH (1840-1901)
• TATE, SIR HENRY, BART

Tate, he contributed a long passage of invective against Robert See also:

• FERGUSON, ADAM (1723-1816)
• FERGUSON, JAMES (1710-1776)
• FERGUSON, ROBERT (c. 1637-1714)
• FERGUSON, SIR SAMUEL (1810-1886)

Ferguson, one of Monmouth's chief advisers, Elkanah Settle, Shadwell and others . Religio Laici, which appeared in the same See also:

• MONTH
• MONTH (a common Teutonic word, cf. Ger. Mond, Du. maand, Dan. maaned, &c., and cognate with Lat. mensis, Gr. µi7v, &c., in other branches of the Indo-Germanic family; all ultimately from the root seen in the word for the moon in nearly all those languages

month, though nominally an exposition of a layman's creed, and deservedly admired as such, was not without a political purpose . It attacked the Papists, but declared the " fanatics " to be still more dangerous . Dryden's next poem in heroic couplets was in a different See also:

• STRAIN (through O. Fr. straindre, estraindre, mod. i treindre, from Lat. stringere, to draw tight, related to stress, stretch, string, &c.)

strain . On the See also:

• ACCESSION (from Lat. accedere, to go to, to approach)

accession of See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James, in 1685, he became a Roman Catholic . There has been much discussion as to whether this See also:

• CONVERSION (Lat. conversio, from convertere, to turn or ,change)

conversion was or was not sincere . It can only be said that the coincidence between his See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change of faith and his change of See also:

• PATRON

patron was suspicious, and that Dryden's character for consistency is certainly not of a kind to quench suspicion . The force of the coincidence cannot be removed by such pleas as that his wife had been a Roman Catholic for several years, or that he was converted by his son, who was converted at Cambridge, even if there were any evidence for these statements . See also:

• SCOTT, ALEXANDER (fl. 1550)
• SCOTT, DAVID (18o6-1849)
• SCOTT, MICHAEL (1789-1835)
• SCOTT, ROBERT (1811-1887)
• SCOTT, SIR GEORGE GILBERT (1811-1878)
• SCOTT, SIR WALTER, BART
• SCOTT, WILLIAM BELL (1811-1890)
• SCOTT, WINFIELD (1786-1866)

Scott defended Dryden's conversion,—as See also:

• MACAULAY, THOMAS BABINGTON MACAULAY, BARON (1800-1859)

Macaulay denounced it, from party motives . It is worth while, however, to See also:

• NOTICE

notice that in his earlier defence of the English See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

Church he exhibits a See also:

• DESIRE

desire for the definite guidance of a presumably infallible creed, and the case for the Roman Church brought forward at the time may have appeared convincing to a mind singularly open to new impressions . At the same time nothing can be clearer than that Dryden always regarded his literary See also:

• POWERS, HIRAM (1805-1873)

powers as a means of subsistence, and had little See also:

• SCRUPLE

scruple about accepting a brief on any side .

The See also:

• HIND

Hind and the See also:

• PANTHER

Panther, published in 1687, is an ingenious argument for Roman Catholicism, put into the mouth of " a See also:

• MILK (0. Eng. meoluc; from a common Indo-European root, cf. Lat. mulgere, Gr. ?t dXyetv)

milk-See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white hind, immortal and unchanged." There is considerable beauty in the picture of this See also:

• TENDER

tender creature, and its enemies in the See also:

• FOREST

forest are not spared . One can understand the admiration that the poem received when such allegories were in fashion . It was the chief cause of the veneration with which Dryden was regarded by See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope, who, himself educated in the Roman Catholic faith, was taken as a boy of twelve to see the See also:

• VETERAN

veteran poet in his See also:

• CHAIR (in. Mid. Eng. chcere, through O. Fr. chaire or chaiere, from Lat. cathedra, later caledra, Gr. xaOi3pa, seat, cf. "cathedral"; the modern Fr. form chaise, a chair, has been adopted in English with a particular meaning as a form of carriage; chaire

chair of honour and authority at See also:

• WILLS, WILLIAM GORMAN (1828-1891)

Wills's See also:

• COFFEE (Fr: cafe, Ger. Kaffee)

coffee-house . It was also very open to ridicule, and was treated in this spirit by See also:

• PRIOR (from Lat. prior—former, and hence superior, through O. Fr. priour)
• PRIOR, MATTHEW (1664-1721)

Prior and See also:

• MONTAGU (Family)
• MONTAGU (or MOUNTAGUE), RICHARD (1577-1641)
• MONTAGU, ELIZABETH ROBINSON (1720-1800)
• MONTAGU, LADY MARY WORTLEY (1689–1762)
• MONTAGU, RALPH, 1ST DUKE OF (c. 1638-1709)

Montagu, the future earl of See also:

• HALIFAX
• HALIFAX, CHARLES MONTAGUE, EARL OF (1661–1715)
• HALIFAX, GEORGE MONTAGU DUNK, 2ND EARL OF (1716-1771)
• HALIFAX, GEORGE SAVILE, 1ST MARQUESS OF (1633-1695)

Halifax, in The Hind and the Panther transversed to the story of the See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

Country See also:

• MOUSE

Mouse and the See also:

• CITY (through Fr. cite, from Lat. civitas)

City Mouse . Dryden's other literary services to James were a See also:

• SAVAGE
• SAVAGE, MINOT JUDSON (1841– )
• SAVAGE, RICHARD (d. 1743)

savage reply to See also:

• STILLINGFLEET, EDWARD (1635—1699)

Stillingfleet—who had attacked two papers published by the king immediately after his accession, one said to have been written by his late See also:

• BROTHER

brother in advocacy of the Church of See also:

• ROME
• ROME (Roma)

Rome, the other by his late wife explaining the reasons for her conversion—and a translation of a life of See also:

• XAVIER, FRANCISCO DE (1506-1552)

Xavier in prose . He had written also a panegyric of Charles, Threnodia Augustalis, and a poem in honour of the See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth of James II.'s See also:

• HEIR (Lat. heres, from a root meaning to grasp, seen in heres or erus, master of a house, Gr. xeip, hand, Sans. hat ana, hand)

heir, under the title of Britannia rediviva (1688) . Dryden did not abjure his new faith on the Revolution, and so lost his See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office and pension as laureate and historiographer royal . For this act of constancy he deserves See also:

• CREDIT (Lat. credere, to believe)

credit, if the new powers would have considered his services worth having after his frequent apostasies . His rival Shadwell reigned in his See also:

• STEAD, WILLIAM THOMAS (1849– )

stead . Dryden was once more thrown mainly upon his See also:

• PEN (Lat. penna, a feather, pen)

pen for support . He turned again to the stage and wrote the plays already enumerated . A great feature in the last See also:

• DECADE (from Gr. Oka, ten)

decade of his life was his See also:

• TRANSLATIONS

translations from the See also:

• CLASSICS

classics .

See also:

• OVID [PUBLIUS OvID1us NASO] (43 B.C.–A.D. 17)

Ovid's Epistles translated appeared in 168o; and numerous translations from See also:

• VIRGIL (PUBLIUS VERGILIUS MARC)
• VIRGIL, POLYDORE (c. 1470-1555)

Virgil, See also:

• HORACE [QuINTus HORATIUS FLACCUS] (65-8 B.C.)

Horace, Ovid, See also:

• LUCRETIUS (TITUS LUCRETIUS CARUS) (c. 98–55 B.C.)

Lucretius and See also:

• THEOCRITUS

Theocritus appeared in the four volumes of See also:

• MISCELLANY

Miscellany Poems—Miscellany Poems (1684), Sylvae (1685), Examen poeticism (1693), The See also:

• ANNUAL

Annual Miscellany (1694 by the " most eminent hands "); in 1693 was published the verse translation of the Satires of See also:

• JUVENAL (DECIMUS JUNIUS JUVENALIS) (c. 60-140)

Juvenal and of See also:

• PERSIUS

Persius by " Mr Dryden and several other eminent hands," which contained his " Discourse concerning the Original and Progress of Satire "; and in 1697 Jacob Tonson published his most important translation, The Works of Virgil .. The See also:

• BOOK

book, which was the result of three years' labour, was a vigorous, rather than a close, rendering of Virgil into the style of Dryden . Among other notable poems of this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period are the two " Songs for St See also:

• CECILIA, SAINT

Cecilia's See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

Day," written for a London musical society for 1687 and 1697, and published separately . The second of these is the famous See also:

• ODE (Gr. uiSri, from aei&ew, to sing)

ode on " See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander's Feast." The well-known See also:

• PARAPHRASE (Gr. irapa¢pavis, from rrapa4p4av, to relate something in different words, 'raga, beside, and ¢pai"eav, speak, tell)

paraphrase of Veni, Creator Spiritus was posthumously printed, and his " Ode to the memory of See also:

• ANNE (1665-1714)
• ANNE (1693-1740)

Anne Killigrew," called by Dr See also:

• JOHNSON, ANDREW
• JOHNSON, ANDREW (1808–1875)
• JOHNSON, BENJAMIN (c. 1665-1742)
• JOHNSON, EASTMAN (1824–1906)
• JOHNSON, REVERDY (1796–1876)
• JOHNSON, RICHARD (1573–1659 ?)
• JOHNSON, RICHARD MENTOR (1781–1850)
• JOHNSON, SAMUEL (1709-1784)
• JOHNSON, SIR THOMAS (1664-1729)
• JOHNSON, SIR WILLIAM (1715–1774)
• JOHNSON, THOMAS

Johnson the noblest ode in the language, was written in 1686 . His next work was to render some of See also:

• CHAUCER, GEOFFREY (? 1340-1400)

Chaucer's and See also:

• BOCCACCIO, GIOVANNI (1313-1375)

Boccaccio's tales and Ovid's Metamorphoses into his own verse . These translations appeared in November 1699, a few months before his death, and are known by the title of Fables, See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

Ancient and See also:

• MODERN

Modern . The preface, which is an admirable example of Dryden's prose, contains an excellent appreciation of Chaucer, and, incident-ally, an See also:

• ANSWER (derived from and, against, and the same root as swear)

answer to See also:

• JEREMY, EPISTLE OF

Jeremy See also:

• COLLIER, ARTHUR (1680-1732)
• COLLIER, JEREMY (1650-1726)
• COLLIER, JOHN PAYNE (1789–1883)

Collier's attack on the stage . Thus a large portion of the closing years of Dryden's life was spent in translating for See also:

• BREAD

bread . He had a windfall of 500 guineas from Lord See also:

• ABINGDON

Abingdon for a poem on the death of his wife in 1691, and he received liberal presents from his cousin John Driden and from the duke of See also:

• ORMONDE, EARL AND MARQUESS OF
• ORMONDE, JAMES BUTLER, 1ST DUKE
• ORMONDE, JAMES BUTLER, 2ND DUKE OF (1665-1745)

Ormonde, but generally he was in considerable pecuniary straits . Besides, his three sons held various posts in the service of the pope at Rome, and he could not well be on good terms with both courts . However, he was not molested in London by the government, and in private he was treated with the respect due to his old age and his admitted position as the greatest of living English poets . He held a small court at Wills's coffee-house, where he spent his evenings; here he had a chair by the fire in See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

winter and by the window in summer; See also:

• CONGREVE, RICHARD (1818-1899)
• CONGREVE, SIR WILLIAM
• CONGREVE, WILLIAM (167o-1729)

Congreve, See also:

• VANBRUGH, SIR JOHN (1664-1726)

Vanbrugh and See also:

• ADDISON, JOSEPH (1672-1719)

Addison were among his admirers, and here Pope saw the old poet of whom he was to be the most brilliant See also:

• DISCIPLE

disciple .

He died at his house in Gerrard Street, London, on the 1st of May 1700 and was buried on the 13th of the month in Westminster See also:

• ABBEY (Lat. abbatia; from Syr. abba, father)
• ABBEY, EDWIN AUSTIN (1852– )

Abbey . Dryden's portrait, by Sir G . See also:

• KNELLER, SIR GODFREY (1648-1723)

Kneller, is in the See also:

• NATIONAL

National Portrait See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery .