The Dryden tercentenary of 2000 has borne fruit in a way that is encouraging for anyone interested in the most quietly influential of great English poets. In this century, we have seen the completion of the California and Longman editions, and the arrival of four essay collections. Claude Rawson and Aaron Santesso's volume is the product of a Yale ‘Tercentenary Celebration’. The content of the essays is determined by a focus on the political aspects of the drama, and on different sorts of influence, including those upon Dryden, and the writers who were significantly affected by his immediate afterlife. The contributions (from a distinguished cast) show this remit to be broad. The first (shorter) half of the book is dedicated to the plays and their milieu: Lawrence Manley places Dryden against the ascendancy of both the libertines and the dissenters in the new expansive metropolitan London and makes some perceptive remarks about how detachment from urban intensity might affect Dryden's later years, and their focus on translation. This is complemented by Harold Love's account of the emergence of the ‘Town’ as a new sophisticated mentality, and the difference between Dryden, who (as a professional writer) was energised by such an emergence and Rochester, who (as a gentleman) scorned its posturing and copying of inherent class. Howard Erskine-Hill offers a bluff and useful guide to Dryden's major plays, paying particular attention to poetic technique. He wants more attention paid to the contemporary allusiveness of the drama (particularly those written after 1688). On the subject of Dryden in the 1690s, Maximillian Novak takes the submerged Jacobite allusions for granted, in his reading of Dryden's political views—chiefly, how different (and often unappealing) they are to a modern audience, given his implicitly conservative dislike of the ‘mob’ and over-arching fear of anarchy. Novak's idea of the later Dryden's active Jacobitism comes across in the claim that ‘If the Fables show little of the early glorification of monarchy and of heroic power that appeared in his youthful works, it is because he was so intent upon attempting to destabalize the reign of William III through his poetry that he had little space for restoring an heroic ideal’ (p. 109). Apart from the difficulty of reading such a poly-vocal and contradictory series of poems and translations in this way, the strain between the ‘intent’ and its practical outcome—the absence of favourable mentions—shows why Dryden's later politics is likely to remain as a subject of debate. More specific political matter is offered by David Womersley, who argues that The Spanish Fryar is a more tentative and exploratory play in terms of its politics than is usually thought, and thus reflects the shifting loyalties and lack of fixed conclusions in the ongoing Exclusion crisis. On the poetic side, Annabel Patterson tackles the same period, suggesting that Dryden developed his satire before Absalom and Achitophel by borrowing from the approach of opposing Whig figures generally, and Marvell in particular; the ensuing masterpiece is thus a riposte to Marvell's political poetry.
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