... ECL25203-sb/18-Lewi.p65 1 10/19/01, 3:32 PM ECL25203-sb/18-Lewi.p65 2 10/19/01, 3:32 PM The Type of a Kind; or, The Lives of Dryden In 1868...

...Anne Barbeau Gardiner The College of William & Mary 2001 Dryden, Bower, Castlemaine, and the Imagery of Revolution, 1682–1687 In 1683, when details of the Rye House Plot emerged, there was a sharp swing of public opinion...

...Kirk Combe The College of William & Mary 2000 Shadwell as Lord of Misrule: Dryden, Varronian Satire, and Carnival Throughout his literary criticism, Dryden instructs us how to read his own creative works.1 It should...

...Sophie Gee Duke University Press 2005 The Invention of the Wasteland: Civic Narrative and Dryden’s Annus Mirabilis Sophie Gee Princeton University...

...Jack M. Armistead In the poems composed before his first serious plays, Dryden rhetorically exploits the malleability of occult beliefs during this period. He uses the mixed attitudes toward astrology, alchemy, and, to a lesser extent, demonology and other folks beliefs, to broaden meaning...

...Taylor Corse This essay examines the impassioned lecture on animal rights that John Dryden adapted from Ovid and included in Fables Ancient and Modern (1700). This lecture, which Dryden called “Of the Pythagorean Philosophy,” reflects many aspects of the contemporary debate about ethical eating...

...Adam Potkay My design in this essay is twofold: first, I show the underappreciated poetic mastery of Dryden’s Lucretius translations. Second, I connect what Dryden does at the level of the poetic line with how he subtly refashions Epicurean philosophy for his era. Dryden’s Lucretius is less...

... problematic case. Dryden, Pope, and Fielding as we now conceive them are constructions built on the basis of relatively clear (if not uncontested) materials; the evidence we possess about them is open to varying interpretations, but we have a considerable amount to work with. More than any other major...

...Donald W. Nichol Literary miscellanies have long been popular. Richard Tottel's 1557 collection, Songes and Sonettes , gathered the works of various Tudor poets. In 1684, Jacob Tonson and John Dryden launched a miscellany that reached six volumes by 1709. By 1743, the time was ripe for a satirical...

... descendants of the medieval fabliau. In the process, it explores a best-selling anthology of them, the Noble brothers' The Muse in Good Humour (1744–85), and the career of Matthew Prior, the greatest contemporary producer of this genre and by far the most prominent English poet between Dryden and Pope. While...

... it among the long English narratives with which it was contemporary: Butler's Hudibras (1663, 1664, 1678), Bunyan's The Pilgrim's Progress (1678, 1684), Dryden's Absalom and Achitophel (1681), and Behn's Love-Letters between a Noble-Man and His Sister (1984, 1985, 1987). What Paradise Lost shares...

..., Francis Osborne, Sir William Temple, Charles de Sainte-Évremond, John Locke, John Wilson, the Earl of Shaftesbury, Jonathan Swift, Alexander Pope, and John Gay. It examines examples of miscellanies produced by John Dryden and his publisher Jacob Tonson, by John Dennis and Charles Gildon, and by Pope...

..., such as Dryden and Mil- ton, whose presence in eighteenth-century poetic collections is so great as to require a larger and more systematic study, and any effort to under- stand them would be partial (as of June 2014, there are 2,461 citations to Dryden in the DMI, and 949 to Milton).1 Instead, my concern...

... their Country stampt upon their Face.1 The passage above is from a prologue that the poet and playwright John Dryden wrote for the King’s Company when that troupe of players arrived to perform at Oxford in July 1680.2 The anti-Irish imagery that Dryden deployed in this passage was also clearly meant...

... calls “legendary Swiftiana”: “Here, neither Swift nor Stella is made a bastard,” he writes; “Swift does not say, ‘My uncle gave me the education of a dog’; Dryden does not say, ‘Cousin Swift, you will never be a poet’; and Temple does not seat Swift and Stella at the servants’ table.”1 Despite...

... competing readings. In a closely argued essay on Dryden’s “Discourse Concerning the Original and Progress of Satire,” admirably attentive to details of politics in the period, Anne Cotterill detects an “undercurrent of hostility” beneath Dryden’s “hyperbolic praise” of his patron Dorset. Her essay...

... “Westminster Boy” was among the most familiar characters of late seventeenth-century and early eighteenth-century Lon- don. Though the alumni of the school included Ben Jonson, George Her- bert, Abraham Cowley, John Dryden, Matthew Prior, Charles Churchill, Robert Lloyd, and William Cowper...

... College.3 Repeated bouts of illness as a child may have meant that Henry was educated largely at home. St. John was already a minor published poet by the time his correspon- dence with Trumbull began. He contributed a commendatory poem, “To Mr. Dryden,” for inclusion in Dryden’s translation...

..., Erasmus, and Burton had never written. Neither is she interested in the tide of hereditary humors, traditional tropes, and unshakable prejudices coursing down the centuries. Her taxonomic approach to satire is poles apart from the genealogical exposition Dryden makes in the dedication...

..., Shakespeare, Donne, Cowley, Milton, Dryden, Pope, Swift, Smollett, Horace Walpole, Boswell, Wordsworth, and Tennyson, among others. The Yale edition of the works of Samuel Johnson is part of a great humanistic undertaking to estab- lish the texts of major writers that we first find in the scholarship...