John Dryden was one of the most famous writers of the 17th century and one of the most brilliant drama theorists. Therefore this paper wants to show the concepts of drama by John Dryden and Aristotle on the examples of Dryden’s All for Love and Shakespeare’s play Antony and Cleopatra as the adaptation original. The theory of the drama concept is based mainly on Aristotle, which is the fundament of all tragedy and comedy and especially for John Dryden’s concept. Dryden used the theory of Aristotle very strictly and therefore shaped the tragedy writing of his time and after it will be the thesis of this paper.
To prove this thesis the classical drama concept of Aristotle, which is the fundament of Shakespeare’s and Dryden’s theory, must be explained. Secondly Dryden’s theory will be demonstrated as well as the concept of theatre in his time. Dryden lived in the Restoration era, so his thinking and his works are shaped by this time. Therefore Dryden’s theory and concept of drama will be analyzed in its historical context.
After this discussion there will be an analyses of Dryden’s way to adapt Shakespeare and his purpose by writing All for Love, which is the mostly read adaptation of Shakespeare. There will be a discussion of the character conception, the language of Dryden and the Restoration period and the so called three unities based on Aristotle’s theory. The story of this play will be explained and the characters within this story. There will also be an analyses of the very special and typical scene of All for Love when Cleopatra and Octavia, the two rivals, speak to each other, and of other scenes as well. Afterwards follows a discussion of the themes love and duty, which are very typical for the Restoration period and the distinctive interpretation of Dryden in his play. Antony as the hero of this play will be discussed in comparison to Shakespeare’s Antony and with it the hero theory of Aristotle and Dryden. All these analyses are based on the concept of drama by Aristotle and the rules Dryden invented.
Table of Contents
- Introduction
- The Classical Drama Concept
- Aristotle's Theory of Mimesis
- Aristotle's Definition of Tragedy
- Structure and Events in Tragedy
- Tragic Characters
- Language and Style in Tragedy
- Dryden and his Concept of Drama
- Dryden and the Realization of his Ideas in "All for Love"
Objectives and Key Themes
This paper aims to demonstrate the influence of Aristotle's classical drama concept on John Dryden's dramatic theory and practice, specifically analyzing Dryden's adaptation of Shakespeare's Antony and Cleopatra in his play All for Love. The analysis will examine Dryden's adherence to Aristotelian principles and the ways in which he adapted those principles to the context of the Restoration era.
- Aristotle's concept of tragedy and its influence on Dryden
- Dryden's adaptation of Shakespeare's Antony and Cleopatra in All for Love
- The role of the three unities (action, time, place) in Dryden's drama
- The themes of love and duty in Dryden's All for Love
- Character development and dramatic language in Dryden's work
Chapter Summaries
Introduction: This introductory chapter sets the stage for the analysis by highlighting John Dryden's significance as both a writer and drama theorist in the 17th century. It introduces the central thesis: that Dryden's dramatic concepts are deeply rooted in Aristotelian principles, a thesis that will be proven through an examination of All for Love and a comparison with Shakespeare's Antony and Cleopatra. The chapter outlines the structure of the paper, promising an exploration of Aristotle's theories, Dryden's adaptation of Shakespeare, and a detailed analysis of All for Love itself.
The Classical Drama Concept: This chapter delves into Aristotle's theory of drama, exploring his concept of mimesis—the imitation of human behavior—as the foundation of both tragedy and comedy. It explains Aristotle's definition of tragedy, emphasizing the importance of a complete and unified action, elevated language, and the emotional catharsis experienced by the audience. The chapter also details Aristotle's guidelines for plot structure, character development (with the emphasis on a good, appropriate, real, and consistent hero), and the use of language to evoke pity and fear. The three unities—of action, time, and place—are discussed as crucial elements in achieving a cohesive and engaging dramatic experience.
Dryden and his Concept of Drama: This chapter focuses on John Dryden's life and works within the context of the Restoration period. It introduces Dryden's major plays, including All for Love, and sets the groundwork for understanding his dramatic theory as informed by and reacting to the classical tradition, particularly the influence of Aristotle. The chapter will provide a critical overview of Dryden’s approach to drama, foreshadowing the detailed analysis of All for Love in the subsequent chapter. It sets the stage for comparing Dryden's approach to that of Shakespeare and Aristotle.
Keywords
John Dryden, Aristotle, classical drama, tragedy, comedy, mimesis, catharsis, three unities, All for Love, Shakespeare, Antony and Cleopatra, Restoration drama, adaptation, love, duty, character analysis, dramatic language.
Frequently Asked Questions: A Comprehensive Language Preview
What is the main topic of this paper?
This paper analyzes the influence of Aristotle's classical drama concept on John Dryden's dramatic theory and practice. It focuses specifically on Dryden's adaptation of Shakespeare's Antony and Cleopatra in his play All for Love, examining how Dryden adhered to and adapted Aristotelian principles within the context of the Restoration era.
What are the key themes explored in the paper?
Key themes include Aristotle's concept of tragedy and its impact on Dryden; Dryden's adaptation of Shakespeare's Antony and Cleopatra; the role of the three unities (action, time, place) in Dryden's drama; the themes of love and duty in All for Love; and character development and dramatic language in Dryden's work.
What aspects of Aristotle's classical drama concept are discussed?
The paper delves into Aristotle's theory of mimesis (imitation of human behavior), his definition of tragedy, the importance of a unified action, elevated language, and emotional catharsis. It also covers Aristotle's guidelines for plot structure, character development (including the characteristics of a tragic hero), and the use of language to evoke pity and fear. The three unities are discussed as crucial elements for a cohesive drama.
How does the paper analyze Dryden's *All for Love*?
The paper analyzes All for Love by comparing it to Shakespeare's Antony and Cleopatra, examining how Dryden adapted Shakespeare's work while incorporating Aristotelian principles. The analysis will explore Dryden's adherence to the three unities, his character development, his use of dramatic language, and the portrayal of themes like love and duty.
What is the structure of the paper?
The paper is structured with an introduction, a chapter on the classical drama concept (focusing on Aristotle), a chapter on Dryden's dramatic theory and its context within the Restoration period, and a detailed analysis of *All for Love*. The paper also includes a table of contents, objectives and key themes, chapter summaries, and keywords.
What is the significance of John Dryden in this context?
The paper highlights John Dryden's significance as a writer and drama theorist in the 17th century. It positions him as a key figure who adapted and reacted to the classical dramatic tradition, particularly Aristotle's influence, while also working within the unique context of Restoration England.
What are the key keywords associated with this paper?
Key words include: John Dryden, Aristotle, classical drama, tragedy, comedy, mimesis, catharsis, three unities, All for Love, Shakespeare, Antony and Cleopatra, Restoration drama, adaptation, love, duty, character analysis, and dramatic language.
- Quote paper
- Doreen Bärwolf (Author), 2007, John Dryden and his drama concept on the example of his tragedy "All for Love, or the World well lost" in comparison to Aristotle’s drama concept, Munich, GRIN Verlag, https://www.grin.com/document/156441
