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'