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Journal articles on the topic 'John Dryden'

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Published: 4 June 2021

Last updated: 28 January 2023

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1

Shankman, Steven, and David Hopkins. "John Dryden." South Atlantic Review 53, no. 2 (1988): 152. http://dx.doi.org/10.2307/3199928.

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Winn, James A., and David Hopkins. "John Dryden." Eighteenth-Century Studies 21, no. 2 (1987): 273. http://dx.doi.org/10.2307/2739120.

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3

Hughes, Derek, and David Hopkins. "John Dryden." Modern Language Review 85, no. 1 (1990): 148. http://dx.doi.org/10.2307/3732818.

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4

Harth, Phillip. "The Text of Dryden's Poetry The Poems of John Dryden Paul Hammond John Dryden." Huntington Library Quarterly 63, no. 1/2 (2000): 227–44. http://dx.doi.org/10.2307/3817871.

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5

Zwicker, Steven N. "John Dryden: A Literary Life. Paul Hammond , John Dryden." Modern Philology 92, no. 1 (1994): 96–99. http://dx.doi.org/10.1086/392220.

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6

Skouen, Tina. "The Vocal Wit of John Dryden." Rhetorica 24, no. 4 (2006): 371–402. http://dx.doi.org/10.1525/rh.2006.24.4.371.

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Abstract The English poet-critic John Dryden (1631–1700) took a keen interest in refining the mother tongue. As a literary critic, he was particularly concerned with the contrast between the sound of the vernacular and that of Latin. This study establishes a connection between Dryden's observations on sound and the recommendations concerning elocution found in such seventeenth-century rhetorics as Some Instructions Concerning the Art of Oratory (1659) by Obadiah Walker. In order to appreciate Dryden's use of sound in his own poems, I argue that one should also take into account the phonetic th

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7

Caldwell, Tanya. "John Dryden and John Denham." Texas Studies in Literature and Language 46, no. 1 (2004): 49–72. http://dx.doi.org/10.1353/tsl.2004.0001.

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8

Canfield, J. Douglas, and William Frost. "John Dryden: Dramatist, Satirist, Translator." Eighteenth-Century Studies 23, no. 3 (1990): 370. http://dx.doi.org/10.2307/2738812.

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9

Clingham, Greg, and James Anderson Winn. "John Dryden and His World." Eighteenth-Century Studies 22, no. 4 (1989): 602. http://dx.doi.org/10.2307/2739090.

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10

Parfitt, George, William Frost, and Cedric D. Reverand. "John Dryden: Dramatist, Satirist, Translator." Modern Language Review 85, no. 4 (1990): 917. http://dx.doi.org/10.2307/3732667.

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11

Peterson, R. G., and James Anderson Winn. "John Dryden and His World." South Central Review 5, no. 2 (1988): 94. http://dx.doi.org/10.2307/3189577.

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12

Roosen, William, and James Anderson Winn. "John Dryden and his World." American Historical Review 94, no. 5 (1989): 1371. http://dx.doi.org/10.2307/1906405.

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13

Combe, K. "John Dryden: A Tercentenary Miscellany." Notes and Queries 50, no. 4 (2003): 475–76. http://dx.doi.org/10.1093/nq/50.4.475.

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14

Combe, Kirk. "John Dryden: A Tercentenary Miscellany." Notes and Queries 50, no. 4 (2003): 475–76. http://dx.doi.org/10.1093/nq/500475.

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15

Korsten, Frans, Jos Blom, and Frans Blom. "The Two Lives of Thomas Metcalfe." Recusant History 30, no. 1 (2010): 130–61. http://dx.doi.org/10.1017/s0034193200012693.

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In his 1990 article ‘Holzhauser and England: Three Episodes' T. A. Birrell tells the story of John Dryden's intervention with the Secretary of State, Sir William Trumbull, on behalf of a Catholic publisher who had got into trouble with the authorities for publishing and disseminating ‘several popish and seditious books’. The publisher's name was Thomas Metcalfe, his main crime was the publication of Constitutiones clericorum saecularium in commune viventium, and Dryden asks Trumbull to be lenient since Metcalfe is ‘a young man and this is his first offence’. Moreover Dryden predicts, that ‘upo

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16

HAMMOND, PAUL. "JOHN DRYDEN: THE CLASSICIST AS SCEPTIC." Seventeenth Century 4, no. 2 (1989): 165–87. http://dx.doi.org/10.1080/0268117x.1989.10555297.

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17

Schille, Candy B. K. "Why Did John Dryden Rehabilitate Cressida?" SEL Studies in English Literature 1500-1900 58, no. 3 (2018): 543–68. http://dx.doi.org/10.1353/sel.2018.0021.

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18

Rounce, A. "JOHN DRYDEN, The Poems of John Dryden, vol. V, 1697-1700, ed. PAUL HAMMOND and DAVID HOPKINS." Notes and Queries 54, no. 1 (2007): 109–10. http://dx.doi.org/10.1093/notesj/gjm049.

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19

Mason, Tom. "John Dryden: The Living and the Dead." Translation and Literature 10, no. 1 (2001): 136–45. http://dx.doi.org/10.3366/tal.2001.10.1.136.

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20

Mason, Tom. "John Dryden: The Living and the Dead." Translation and Literature 10, Part_1 (2001): 136–45. http://dx.doi.org/10.3366/tal.2001.10.part_1.136.

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21

McHenry, Robert W. "The Just and the Lively: The Literary Criticism of John Dryden, and: Critical Essays on John Dryden (review)." Eighteenth-Century Studies 34, no. 1 (2000): 144–47. http://dx.doi.org/10.1353/ecs.2000.0061.

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22

Gallimore, Daniel. "Tsubouchi, Dryden and Global Shakespeare." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 81. http://dx.doi.org/10.14198/raei.2012.25.07.

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What does it mean for Shakespeare’s plays to be recognized as both ‘universal’ and ‘foreign’ in a recipient culture? In the case of Japan, where Shakespeare was initially received in the late nineteenth century, one answer might be that Japanese Shakespeareans have adopted a kind of ‘soft humanism’; in other words one not specifically situated against the horizon of the English Renaissance, but instead fulfilling a range of purposes within the local culture, not least the touting of ‘universal’ values. Universals appeal to societies perceived to lack a strong awareness of the individuated self

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23

Gelber, Michael Werth. "John Dryden and the Battle of the Books." Huntington Library Quarterly 63, no. 1/2 (2000): 139–56. http://dx.doi.org/10.2307/3817867.

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24

Bywaters, David. "Historicism Gone Awry: Recent Work on John Dryden." Huntington Library Quarterly 63, no. 1/2 (2000): 245–55. http://dx.doi.org/10.2307/3817872.

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25

Hopkins, David. "An Uncollected Translation from Voiture by John Dryden." Translation and Literature 14, no. 1 (2005): 64–70. http://dx.doi.org/10.3366/tal.2005.14.1.64.

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26

Lewis (book editor), Jayne, Lisa Zunshine (book editor), and Tanya M. Caldwell (review author). "Approaches to Teaching the Works of John Dryden." Renaissance and Reformation 38, no. 4 (2016): 206–7. http://dx.doi.org/10.33137/rr.v38i4.26394.

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27

Winn, James A. "Approaches to Teaching the Works of John Dryden." Restoration and Eighteenth-Century Theatre Research 30, no. 1-2 (2015): 147–52. http://dx.doi.org/10.5325/rectr.30.1-2.0147.

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28

Gardiner, Anne Barbeau. "John Dryden and His World. James Anderson Winn." Journal of Modern History 61, no. 4 (1989): 765–68. http://dx.doi.org/10.1086/468357.

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29

Hopkins, David. "Thomas Creech's Preface to Lucretius and John Dryden." Studies in Philology 109, no. 5 (2012): 702–7. http://dx.doi.org/10.1353/sip.2012.0036.

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30

Docherty, Thomas. "The Cambridge Companion to John Dryden by Steven N. ZwickerEnchanted Ground: Reimagining John Dryden by Jayne Lewis, Maximillian E. Novak." Modern Language Review 102, no. 2 (2007): 485–86. http://dx.doi.org/10.1353/mlr.2007.0298.

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31

Hughes, Leo, and A. H. Scouten. "Dryden with Variations: Three Prompt Books." Theatre Research International 11, no. 2 (1986): 91–105. http://dx.doi.org/10.1017/s030788330001213x.

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Among the eleven promptbooks from the Morrab Library in Penzance sold at Sotheby's in 1964, by no means least interesting are three based on plays by John Dryden. After considerable study we are persuaded that all three were from Drury Lane Theatre. They came into the possession of H. C. Halliwell-Phillipps and were eventually presented to the City of Penzance as a token of his affection. We choose a musical term to suggest the great differences in origin and fortunes of the trio, for they represent a varied pattern: one comes from an early collaboration; one is a solo performance from late in

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32

MCCLARY, SUSAN. "EDITORIAL." Eighteenth Century Music 6, no. 1 (2009): 3–5. http://dx.doi.org/10.1017/s1478570609001705.

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John Dryden famously bowdlerized Shakespeare, whose plays violated his reason-governed tastes. That the author of such verse as ‘Happy, happy, happy pair! / None but the brave, / None but the brave, / None but the brave deserves the fair’ (Alexander’s Feast) should have found the rather stronger temperament and the complex plot ambiguities of his predecessor indigestible should come as no surprise. Because our educational processes have long since held up Shakespeare as the pinnacle of English-language literature, we tend to find Dryden’s fastidious attitude somewhat quaint – if, indeed, we re

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33

STEPHENS, ISAAC. "THE COURTSHIP AND SINGLEHOOD OF ELIZABETH ISHAM, 1630–1634." Historical Journal 51, no. 1 (2008): 1–25. http://dx.doi.org/10.1017/s0018246x07006565.

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ABSTRACTScholars have long known of the proposed marriage in 1630 of John Dryden, grandson of Sir Erasmus Dryden, and Elizabeth Isham, eldest child of Sir John Isham. All knowledge of this proposed marriage came from correspondence revealing that, having reached a financial impasse, the two families aborted the proposed match. At first glance, such a case seems rather unremarkable, since similar stories abound of other contemporary families and in more detail. The Dryden–Isham match, however, takes on increased importance with the recent discovery of Elizabeth Isham's 60,000-word spiritual aut

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34

Walker, Keith, John Dryden, Paul Hammond, David Hopkins, Paul Hammond, and Richard Morton. "The Poems of John Dryden. Vol. III: 1686-1693." Modern Language Review 97, no. 3 (2002): 679. http://dx.doi.org/10.2307/3737507.

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35

Danchin, Pierre. "A propos de All for Love de John Dryden." XVII-XVIII. Revue de la société d'études anglo-américaines des XVIIe et XVIIIe siècles 21, no. 1 (1985): 109–15. http://dx.doi.org/10.3406/xvii.1985.1077.

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36

Hopkins, David. "Dryden, John Harvey, and the Tenth Satire of Juvenal." Notes and Queries 42, no. 1 (1995): 54–56. http://dx.doi.org/10.1093/notesj/42.1.54.

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37

Schmitt, Julia. "Gender, Theatre, and the Origins of Criticism: From Dryden to Manley. By Marcie Frank. Cambridge: Cambridge University Press, 2003; pp. 175. $60 cloth." Theatre Survey 45, no. 2 (2004): 303–5. http://dx.doi.org/10.1017/s0040557404330267.

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Gender, Theatre, and the Origins of Criticism: From Dryden to Manley explores the role theatrical artists played in the emergence of literary criticism. Marcie Frank suggests that a study of this emergence should begin with John Dryden, and that it must also include the contributions made by female playwrights (such as Aphra Behn, Catharine Trotter, and Delarivier Manley)—not merely as side notes worthy of attention in a feminist attempt to include women writers in the history of criticism but, more important, as writings that actively carried on the genealogical literary tradition that Dryden

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38

Alhawamdeh, Hussein A. "The Cultural Transformation of the Trope of the Renegade in Late Seventeenth- and Early Nineteenth-Century English Drama." Critical Survey 34, no. 3 (2022): 18–38. http://dx.doi.org/10.3167/cs.2022.340302.

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This article examines the transformation of the trope of the renegade character in late seventeenth-and early nineteenth-century English drama, as represented by John Dryden’s Don Sebastian (1689) and its adaptation by Frederick Reynolds as The Renegade (1812). Reynolds adopts the trope of Restoration ‘cultural renegade’, or what I call ‘Restoration gone cultural revolutionary protagonist’, to reflect on the military alliance between England of George III and the Oriental Muslims in Egypt in 1801 against their common enemy, Napoleon Bonaparte. The renegade character in the plays of Dryden and

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39

Connally, Kenneth. "“Quitting Nature’s Part”: The Reproductive Quest in Dryden’s Virgil." Explorations in Renaissance Culture 45, no. 2 (2019): 193–218. http://dx.doi.org/10.1163/23526963-04502005.

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John Dryden’s translations of Virgil’s Aeneid and Georgics engage with an early modern discourse of reproduction that encouraged maximizing production while warning against disorderly generativity. While Virgil and Dryden both had political reasons to be invested in patrilineage, their shared interest in Epicureanism, with its denial of life after death, may have driven these poets to search for an alternative form of immortality in reproduction. Dryden’s choices as a translator reveal cultural anxieties around women’s role in procreation and suggest a preference for adoption as a model for re

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40

Ford, Thomas H. "Echohistoricism: Aristotle, Dryden, Montgomery, Conrad." Romanticism 24, no. 3 (2018): 278–93. http://dx.doi.org/10.3366/rom.2018.0387.

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The contingencies of military decisions and their outcomes have always shaped the course of literary history, determining even the languages in which it has been conducted. But modern literature takes a new bearing on its determinant military contingencies. This paper describes a modern literary scene that self-reflexively attributes to literature the potential to suspend these determining military events, and so to communicate the unactualised possibilities contained in past contingencies, even those that have been violently foreclosed. It is a scene of interested observers, adrift in a boat,

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41

Poyet, Albert. "Poésie et théâtralité dans All for Love de John Dryden." Colloque - Société d'études anglo-américaines des 17e et 18e siècles 21, no. 1 (1985): 111–22. http://dx.doi.org/10.3406/xvii.1985.2227.

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42

MaCaree, David. "T. S. Eliot and John Dryden: A Study in Relationship." ESC: English Studies in Canada 13, no. 1 (1987): 35–48. http://dx.doi.org/10.1353/esc.1987.0004.

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43

Yang, W. T., R. M. Evans, and S. C. Chung. "“But fell like autumn fruit that mellowed long” (John Dryden)." British Journal of Radiology 67, no. 802 (1994): 1033–34. http://dx.doi.org/10.1259/0007-1285-67-802-1033.

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44

Smyth, Adam. "Thinking with Ferrar Papers 1422: A c. 1681 Verse Miscellany." Library 21, no. 2 (2020): 192–215. http://dx.doi.org/10.1093/library/21.2.192.

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Abstract This article explores a late seventeenth-century manuscript verse miscellany held amongst the Ferrar Papers in Magdalene College, Cambridge, not previously discussed by critics. By attending to both the specific features of this manuscript miscellany (including poems by John Dryden, Katherine Philips. and others), and the larger Ferrar archive, the article considers broader questions about how to read and interpret manuscript miscellanies.

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45

VELLA RAMÍREZ, Mercedes. "La Restauración en Inglaterra y la poesía satírica: The Medal de John Dryden." Hikma 4, no. 4 (2005): 59. http://dx.doi.org/10.21071/hikma.v4i4.6734.

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Trabajo que lleva a cabo una breve revisión histórica del período de la Restauración, tratando de analizar la causa de la proliferación de poemas satíricos en Inglaterra. El ejemplo ofrecido es The Medal, de John Dryden, uno de los poemas más representativos de la época, dedicado a desprestigiar la figura del Conde de Shaftesbury, antiguo aliado de Carlos II, que decidió apoyar al Duque de Monmouth como sucesor al trono.

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46

JONES, STANLEY. "MORE HAZLITT QUOTATIONS: THE BIBLE, MILTON, DRYDEN, ROCHESTER BOILEAU/JOHN DENNIS." Notes and Queries 41, no. 3 (1994): 343–44. http://dx.doi.org/10.1093/nq/41-3-343.

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47

James A. Winn. "John Dryden, Court Theatricals, and the “Epilogue to the faithfull Shepheardess”." Restoration: Studies in English Literary Culture, 1660-1700 32, no. 2 (2008): 45–54. http://dx.doi.org/10.1353/rst.0.0024.

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48

Horowitz, James. "Partisan Bodies: John Dryden, Jacobite Camp, and the Queering of 1688." Restoration: Studies in English Literary Culture, 1660-1700 39, no. 1-2 (2015): 17–60. http://dx.doi.org/10.1353/rst.2015.0007.

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49

Gardiner, Anne Barbeau. "The Cambridge Companion to John Dryden ed. by Steven N. Zwicker." Scriblerian and the Kit-Cats 39, no. 1 (2006): 70–73. http://dx.doi.org/10.1353/scb.2006.0050.

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50

Martínez López, Ana Belén. "TRADUCCIÓN Y RECEPCIÓN LITERARIA. ESTUDIO Y EDICIÓN BILINGÜE DE LAS SÁTIRAS DE JOHN DRYDEN (INGLÉS-ESPAÑOL)." Entreculturas. Revista de traducción y comunicación intercultural, no. 4 (January 29, 2012): 115–16. http://dx.doi.org/10.24310/entreculturasertci.vi4.11599.

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Esta monografía individual, de la que es autora Mercedes Vella Ramírez, profesora titular de Traducción e Interpretación de la Universidad de Córdoba, supone el acercamiento histórico, literario, cultural y traductológico de las sátiras de John Dryden, considerado como el principal exponente de la literatura de la Restauración en Inglaterra, no solo como poeta y dramaturgo, sino también como traductor de autores clásicos tales como Ovidio, Juvenal y especialmente, Virgilio.

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