John Dryden (19 August, 1631–12 May, 1700) was an influential English poet, literary critic, translator and playwright, who dominated the literary life of Restoration England to such a point that the period came to be known in literary circles as the Age of Dryden.
As a humanist grammar school, Westminster maintained a curriculum which trained pupils in the art of rhetoric and the presentation of arguments for both sides of a given issue. This is a skill which would remain with Dryden and influence his later writing and thinking, as much of it displays these dialectical patterns. The Westminster curriculum also included weekly translation assignments which developed Dryden’s capacity for assimilation. This was also to be exhibited in his later works. His years at Westminster were not uneventful, and his first published poem, an elegy with a strong royalist feel on the death of his schoolmate Henry, Lord Hastings from smallpox, alludes to the execution of King Charles I, which took place on 30 January 1649.
In 1650 Dryden went up to Trinity College, Cambridge where he would have experienced a return to the religious and political ethos of his childhood. The Master of Trinity was a Puritan preacher by the name of Thomas Hill who had been a rector in Dryden’s home village. Though there is little specific information on Dryden’s undergraduate years, he would have followed the standard curriculum of classics, rhetoric, and mathematics. In 1654 he obtained his BA, graduating top of the list for Trinity that year. In June of the same year Dryden’s father died, leaving him some land which generated a little income, but not enough to live on.
Arriving in London during The Protectorate, Dryden procured work with Cromwell’s Secretary of State, John Thurloe. This appointment may have been the result of influence exercised on his behalf by the Lord Chamberlain Sir Gilbert Pickering, Dryden’s cousin. Dryden was present on 23 November 1658 at Cromwell’s funeral where he processed with the Puritan poets John Milton and Andrew Marvell. Shortly thereafter he published his first important poem, Heroique Stanzas (1658), a eulogy on Cromwell’s death which is cautious and prudent in its emotional display. In 1660 Dryden celebrated the Restoration of the monarchy and the return of Charles II with Astraea Redux, an authentic royalist panegyric. In this work the interregnum is illustrated as a time of anarchy, and Charles is seen as the restorer of peace and order.
On 1 December 1663 Dryden married the royalist sister of Sir Robert Howard—Lady Elizabeth. Dryden’s works occasionally contain outbursts against the married state but also celebrations of the same. Thus, little is known of the intimate side of his marriage. Lady Elizabeth however, was to bear him three sons and outlive him.
With the reopening of the theatres after the Puritan ban, Dryden busied himself with the composition of plays. His first play, The Wild Gallant appeared in 1663 and was not successful, but he was to have more success, and from 1668 on he was contracted to produce three plays a year for the King's Company in which he was also to become a shareholder. During the 1660s and 70s theatrical writing was to be his main source of income. He led the way in Restoration comedy, his best known work being Marriage A-la-Mode (1672), as well as heroic tragedy and regular tragedy, in which his greatest success was All for Love (1678). Dryden was never satisfied with his theatrical writings and frequently suggested that his talents were wasted on unworthy audiences. He thus was making a bid for poetic fame off-stage. In 1667, around the same time his dramatic career began, he published Annus Mirabilis, a lengthy historical poem which described the events of 1666; the English defeat of the Dutch naval fleet and the Great Fire of London. It was a modern epic in pentameter quatrains that established him as the preeminent poet of his generation, and was crucial in his attaining the posts of Poet Laureate (1668) and historiographer royal (1670).
When the Great Plague closed the theatres in 1665 Dryden retreated to Wiltshire where he wrote Of Dramatick Poesie (1668), arguably the best of his unsystematic prefaces and essays. Dryden constantly defended his own literary practice, and Of Dramatick Poesie, the longest of his critical works, takes the form of a dialogue in which four characters–each based on a prominent contemporary, with Dryden himself as ‘Neander’- debate the merits of classical, French and English drama. The greater part of his critical works introduce problems which he is eager to discuss, and show the work of a writer of independent mind who feels strongly about his own ideas, ideas which demonstrate the incredible breadth of his reading. He felt strongly about the relation of the poet to tradition and the creative process, and his best heroic play "Aureng-zebe" (1675) has a prologue which denounces the use of rhyme in serious drama. His play All for Love (1678), was written in blank verse, and was to immediately follow Aureng-Zebe.
Dryden’s greatest achievements were in satiric verse: the mock-heroic MacFlecknoe, a more personal product of his Laureate years, was a lampoon circulated in manuscript and an attack on the playwright Thomas Shadwell. Dryden's main goal in the work is to "satirize Shadwell, ostensibly for his offenses against literature but more immediately we may suppose for his habitual badgering of him on the stage and in print." It is not a belittling form of satire, but rather one which makes his object great in ways which are unexpected, transferring the ridiculous into poetry. This line of satire continued with Absalom and Achitophel (1681) and The Medal (1682). His other major works from this period are the religious poems Religio Laici (1682), written from the position of a member of the Church of England; his 1683 edition of Plutarchs Lives Translated From the Greek by Several Hands in which he introduced the word biography to English readers; and The Hind and the Panther, (1687) which celebrates his conversion to Roman Catholicism.
When in 1688 James was deposed, Dryden’s refusal to take the oaths of allegiance to the new government left him out of favour at court. Thomas Shadwell succeeded him as Poet Laureate, and he was forced to give up his public offices and live by the proceeds of his pen. Dryden translated works by Horace, Juvenal, Ovid, Lucretius, and Theocritus, a task which he found far more satisfying than writing for the stage. In 1694 he began work on what would be his most ambitious and defining work as translator, The Works of Virgil (1697), which was published by subscription. The publication of the translation of Virgil was a national event and brought Dryden the sum of ₤1,400. His final translations appeared in the volume Fables Ancient and Modern (1700), a series of episodes from Homer, Ovid, and Boccaccio, as well as modernized adaptations from Geoffrey Chaucer interspersed with Dryden’s own poems. The Preface to Fables is considered to be both a major work of criticism and one of the finest essays in English. As a critic and translator he was essential in making accessible to the reading English public literary works in the classical languages.
Dryden died in 1700 and is buried in Westminster Abbey. He was the subject of various poetic eulogies, such as Luctus Brittannici: or the Tears of the British Muses; for the Death of John Dryden, Esq. (London, 1700), and The Nine Muses.
Johnson also noted, however, that "He is, therefore, with all his variety of excellence, not often pathetic; and had so little sensibility of the power of effusions purely natural, that he did not esteem them in others. Simplicity gave him no pleasure." The 18th century did not mind this too much, but in later ages, this was increasingly considered a fault.
One of the first attacks on Dryden's reputation was by Wordsworth, who complained that Dryden's descriptions of natural objects in his translations from Virgil were much inferior to the originals. However, several of Wordsworth’s contemporaries, such as George Crabbe, Lord Byron, and Walter Scott (who edited Dryden's works), were still keen admirers of Dryden. Besides, Wordsworth did admire many of Dryden's poems, and his famous "Intimations of Immortality" ode owes something stylistically to Dryden's "Alexander's Feast." John Keats admired the "Fables," and imitated them in his poem Lamia. Later 19th century writers had little use for verse satire, Pope, or Dryden; Matthew Arnold famously dismissed them as "classics of our prose." He did have a committed admirer in George Saintsbury, and was a prominent figure in quotation books such as Bartlett's, but the next major poet to take an interest in Dryden was T. S. Eliot, who wrote that he was 'the ancestor of nearly all that is best in the poetry of the eighteenth century', and that 'we cannot fully enjoy or rightly estimate a hundred years of English poetry unless we fully enjoy Dryden.' However, in the same essay, Eliot accused Dryden of having a "commonplace mind." Critical interest in Dryden has increased recently, but, as a relatively straightforward writer (William Empson, another modern admirer of Dryden, compared his "flat" use of language with Donne's interest in the "echoes and recesses of words) his work has not occasioned as much interest as Andrew Marvell's or John Donne's or Pope's.