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This volume contains Dryden's 1688 translation of Dominiques
Bouhours "The Life of St. Francis Xavier," a sixteenth century
Jesuit and missionary to the Far East.
Dryden's last three years of published works begin with
"Alexander's Feast "and end with "Fables, "his largest miscellany
of poetical translations. "Alexander's Feast, "like the earlier
"Song for St. Cecilia's Day "("Works, III"), was commissioned by
the Musical Society for performance at its annual tribute to sacred
music. The "Fables "included selections from Homer, Ovid,
Boccaccio, and Chaucer. Extensive and detailed notes to these
translations show readers how well Dryden succeeded in transmitting
the styles and the very sounds of his originals. "Volume VII "ends
with a section of miscellaneous pieces published at other times,
including Dryden's only known Latin work. The presentation of the
writings in this volume, like that of the entire twenty-volume
series, is a tribute not only to Dryden but also to the editors who
have guided it through five decades.
This title is part of UC Press's Voices Revived program, which
commemorates University of California Press's mission to seek out
and cultivate the brightest minds and give them voice, reach, and
impact. Drawing on a backlist dating to 1893, Voices Revived makes
high-quality, peer-reviewed scholarship accessible once again using
print-on-demand technology. This title was originally published in
1959.
This title is part of UC Press's Voices Revived program, which
commemorates University of California Press's mission to seek out
and cultivate the brightest minds and give them voice, reach, and
impact. Drawing on a backlist dating to 1893, Voices Revived makes
high-quality, peer-reviewed scholarship accessible once again using
print-on-demand technology. This title was originally published in
1959.
Volumes V and VI concern Dryden's most involved labor: the complete
translation of Virgil into English. Volume V contains The Pastorals
and The Georgics in their entirety; the first six books of The
Aeneid is contained as well.
In the last decade of Dryden's life, he brought four new works
before the theatre-going public: a dramatic opera, a tragedy, a
tragicomedy, and a number of appendages to an old comedy by John
Fletcher, which was revived partly so that Dryden might have the
author's third-night profits. He died that night, but his family
received the money. The dramatic opera, "King Arthur," benefited
from a fine score by Henry Purcell and has remained in the operatic
repertoire to this day. "Cleomenes," the tragedy, was banned until
Dryden was able to convince Queen Mary that it did not reflect any
seditious sympathy with the exiled James II, after which it was
successful. The fate of "Love Triumphant," the tragicomedy, was
different; possibly because of a growing swell of moral reform, the
play was universally damned, even though its themes of incest and
miscellaneous fornication had never brought rejection to Dryden in
the past. "The Secular Masque," Dryden's principal contribution to
"The Pilgrim" by Fletcher, had undistinguished music, but its
lively verse and broad review of the previous century kept the
piece on the stage for the next fifty years, and in anthologies up
to the present.
The three plays in this volume, composed between 1672 or 1673 and
1675, demonstrate Dryden's versatility and inventiveness as a
dramatist. "Amboyna," a tragedy written to stir the English to
prosecute the Third Dutch War, describes the destruction by the
Dutch of English trading posts on two Indonesian islands. Regarded
in its time as sensationalist, it is really a dignified drama that
decries violence. "The State of Innocence, " termed an opera, is a
rhymed version of Milton's "Paradise Lost." Though never performed
or set to music, it became one of Dryden's most widely read dramas.
"Aureng-Zebe," the last and generally considered the best of
Dryden's rhymed heroic plays, portrays the rise to power of Mogul
emperor Aureng-Zebe (1618-1707).
For the first time since 1695, a complete text of "De Arte
Graphica" as Dryden himself wrote it is available to readers. In
all, Volume XX presents six pieces written during Dryden's final
decade, each of them either requested by a friend or commissioned
by a publisher. Two are translations, three introduce translations
made by others, and the sixth introduces an original work by one of
Dryden's friends.
The most recent version of "De Arte Graphica," Saintsbury's late
nineteenth-century reissue of Scott's edition, based the text of
the translated matter on an edition that was heavily revised by
someone other than Dryden. In fact, only one of the pieces offered
here, the brief "Character of Saint-Evremond," has appeared
complete in a twentieth-century edition. The commentary in this
volume supplies biographical and bibliographical contexts for these
pieces and draws attention to the views on history and historians,
poetry and painting, Virgil and translation, which Dryden expresses
in them.
Many other volumes of prose, poetry, and plays are available in the
California Edition of "The Works of John Dryden,"
Volumes V and VI concern Dryden's most involved labor: the complete
translation of Virgil into English. Volume VI contains books 7-12
of The Aeneid, as well as commentary and textual notes to the full
works of Virgil translated in these two volumes.
Volume XI contains three of Dryden's Plays, along with accompanying
scholarly appartus: The Conquest of Granada, Marriage A-la-Mode,
and The Assignation.
This volume contains Dryden's 1684 translation of Louis Maimbourg's
"The History of the League," a work relating to the religious wars
of France in the preceding century, and which Dryden used as a
commentary on the religious persecutions of his own time in
England.
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