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John Dryden Analysis (Critical Edition of Dramatic Literature) John Dryden Published by Salem Press, Inc. If one follows the practice of literary historians and assigns John Milton to an earlier age, then John Dryden stands as the greatest literary artist in England between 1660 and 1700, a period sometimes designated “the Age of Dryden.” In addition to his achievements in drama, he excelled in poetry, translation, and literary criticism. He wrote some two hundred original English poems over a period of more than forty years, including the best poetic satires of his age, memorable odes, and a variety of verse epistles, elegies, religious poems, panegyrics, and lyrics. His prologues and epilogues, attached to his dramas and those of his contemporaries, stand as the highest achievements in English in that minor poetic genre. For every verse of original poetry Dryden wrote, he translated two from another poet. Moreover, he translated two long volumes of prose from French originals—in 1684, Louis Maimbourg’s Histoire de la Ligue (1684) and, in 1688, Dominique Bouhours’s La Help writing my paper paavo nurmi de Saint François Xavier (1683)—and he had a hand in the five-volume translation of Plutarch’s Bioi paralleloi (c. 105-115; Parallel Lives1579) published by Jacob Tonson in 1683. The translations were usually well received, especially the editions of Juvenal and Persius (1693) and Vergil (1697). Dryden’s literary criticism consists largely of prefaces and dedications published throughout his career and attached to other works. His only critical work that was published alone was An Essay of Dramatic Poesy (1668). As a critic, Dryden appears at his best when he evaluates an earlier poet or dramatist ( Homer, Vergil, Ovid, Geoffrey Chaucer, William Shakespeare, Ben Jonson, John Fletcher), Quantitative Research can you write my essay for me he seeks to define a genre, or when he breaks new critical ground, as, for example, in providing women in afghanistan essay of “wit” or a theory of translation. (Critical Edition of Dramatic Literature) In a period of just over thirty years (1663-1694), John Dryden wrote or coauthored twenty-eight plays, an output that made him the most prolific dramatist of his day. His amplitude remains even more remarkable when one considers the amount of poetry, criticism, and translation he produced during the same period. This prolific production is equaled by the variety of the plays: heroic plays, political plays, operas, heroic tragedies, comedies, and tragicomedies. In his prefaces and other prose works, Dryden commented at some length on the various types of plays, seeking to define and to clarify the dramatic forms in which he wrote. Yet Dryden himself recognized that his dramas were not likely to wear well, and his literary reputation today rests largely on his poetry and criticism. The operas King Arthur and The State of Innocence (which was not produced during his lifetime) survive primarily in their lyrics. Like other operas of the time, they were somewhat primitive, judged by modern standards, with sites that do your homework for you little pay to write my research paper journal more akin to the masque or to modern musical comedy than to grand opera. The heroic plays are too artificial to appeal to any but I need help writing a personal essay? most devoted scholars of the period, and Dryden’s comedies and tragicomedies suffer in comparison with those of his contemporaries, Sir George Etherege, William Wycherley, and William Congreve, not to mention his predecessors in English drama. As an index to the taste of the Restoration, however, the plays remain valuable and instructive, reflecting the levels of achievement and prevalent values of dramatic art of the time. Further, a study of Dryden reveals much about both aesthetic and intellectual influences on the drama of his period and the development of the dramatic genres of his age. (British and Irish Poetry, Revised Edition) If one follows the practice of literary historians and assigns John Milton to an earlier age, then John Dryden stands as the greatest literary artist in England between 1660 and 1700, a period sometimes designated the Age of Dryden. In addition to his achievements in poetry, he excelled in drama, translation, and literary criticism. Dryden wrote or coauthored twenty-seven plays over a period of nearly thirty-five years; among them were successfully produced tragedies, heroic plays, tragicomedies, comedies of manners, and operas. For every help writing my paper paavo nurmi of original poetry that Dryden wrote, he translated two from another poet. Moreover, he translated two long volumes of prose from French originals—in 1684, Louis Maimbourg’s Histoire de la Ligue and in 1688, Dominick Bouhours’s La Vie de Saint François Xavier —and help writing my paper paavo nurmi had a hand in the translation of the version of Plutarch’s Lives published by Jacob Tonson in 1683. The translations were usually well received, especially the editions of Juvenal and Persius (1693) and of Vergil (1697). Dryden’s literary criticism consists largely of prefaces and dedications published throughout his career and attached to other works, his only critical work published alone being Of Dramatic Poesie: An Essay (1668). As a critic, Dryden appears at his best when he evaluates an earlier poet or dramatist (Homer, Vergil, Ovid, Geoffrey Chaucer, William Shakespeare, Ben Johnson, John Fletcher), when he seeks to define a genre, or when he breaks new critical ground, providing, for example, definitions of “wit” or a theory of translation. (British and Irish Poetry, Revised Edition) The original English poetry of John Dryden consists of approximately top custom essays ukraine history russian flag 1914 hundred titles, or about twenty thousand verses. Slow to develop as a poet, he wrote his first significant poem in his twenty-eighth year, yet his poetic energy continued almost unabated until his death forty-one years later. His poetry reflects the diversity of talent that one finds throughout his literary career, and a wide range of didactic and lyric genres are represented. With Mac Flecknoe and Absalom and AchitophelDryden raised English satire to a form of high art, surpassing his contemporaries John Oldham, Samuel Butler, and John Wilmot, earl of Rochester, as they had surpassed their Elizabethan predecessors. He left his impression on the ode and the verse epistle, and his religious poem Religio Laici may be considered an early example of the verse essay. In the minor genre represented by prologues and epilogues, he stands alone in English literature, unexcelled in both variety and quality. Of Dryden’s poetic achievement Samuel Johnson wrote in his Life of Dryden : “What was said of Rome, adorned by Augustus, may be applied by an easy metaphor to English poetry embellished by Dryden. . [H]e found it brick and he left it marble.” Johnson’s praise applies primarily to Dryden’s significant achievements in style and tone, for Dryden perfected the heroic couplet, the rhymed iambic pentameter form that was to remain the dominant. (The entire section is 571 words.) Start your 48-hour free trial to unlock this 100+ page John Dryden study guide and get instant access to the following: Biography Critical Essays Analysis 30 Art History Essay Sample: Analyzing ? Help Questions with Expert Answers. You'll also get access to more than 30,000 additional guides and 300,000 Homework Help questions answered by our experts.