In the course of the last four centuries many authors have made good use of Shakespeare′s wealth of ideas and his unique style of elaborate and figurative writing, be it in the form of adopting Shakespearean thoughts in order to create new literary works or by adapting one or several of Shakespeare's plays and thus making the him accessible to a particular contemporary audience. The latter applies to John Dryden who tried to reinvent The Tempest for the Restoration public at large.
This term paper is intended to examine in how far Dryden managed to contribute his own ideas to this adaptation without neglecting the basic framework of Shakespeare′s Tempest. First, Kraus concentrates on the Restoration period itself and the repercussions on drama and theatrical performances that the re-establishment of the monarchy involved. On second thoughts, he draws attention to Dryden′s adaptation of the Tempest, in particular by means of analyzing and elucidating to what extent it differs from the original with regard to plot, staging possibilities and language.
Table of Contents
1. Introductory remarks – adaptations of Shakespeare’s plays
2. Shakespeare in the Restoration period
2.1 Restoration drama
2.2 Restoration theatres and performances
3. Dryden’s adaptation of The Tempest
3.1 The Tempest, or the Enchanted Island
3.2 What is different in the “new” Tempest?
3.2.2 Major changes with regard to plot and characters
3.2.3 Themes differing from the original
3.2.4 English opera – an example of a different staging by means of new theatrical facilities
3.2.5 Dryden’s language and style
4. Dryden as the better Shakespeare? – an attempt at a conclusion
Objectives and Core Themes
This paper examines how John Dryden adapted Shakespeare’s The Tempest for the Restoration audience, analyzing the extent to which he modified the original framework while contributing his own creative ideas. The study focuses on the intersection of theatrical evolution, political influence, and literary revision during the late 17th century.
- The impact of the Restoration of the monarchy on English drama and theater architecture.
- Structural and character-driven alterations in Dryden’s The Enchanted Island compared to the Shakespearean original.
- The introduction of "English opera" and new theatrical staging technologies.
- Shift in thematic focus from magic to power and political usurpation.
- The linguistic modernization and "de-poetization" of Shakespearean verse for a contemporary audience.
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3.2.2 Major changes with regard to plot and characters
Raddadi estimates that the plot of the adaptation is constituted at 23 percent of Shakespeare’s original one (cf. 119). It seems to be even more owing to the fact that the wording often tallies literally with the original text. Nevertheless, Dryden tries to contribute his own ideas to the “new reviving play”. As a result, the cast is extremely enlarged and covers about a dozen actors, five actresses as well as some additional actors playing spirits and mariners.
The constellation of characters is altered insofar as Dryden makes dukes out of kings. It is possible that the influence of the French drama on English dramatic models sees to it that the former King of Naples and the Duke of Milan now become the Duke of Savoy and the Duke of Millain, a rather French-sounding variant of Milan. Moreover, the substitution of Alonzo’s title “King of Naples” by “Duke of Savoy” could be justified by the affection of the English population for Spain and its Italian ally Naples as well as by an open English aversion to England’s age-old enemy France and its Italian ally Savoy. Furthermore, the fact that Alonzo has usurped the Dukedom of Mantua before the shipwreck could hint at the real Duke of Savoy’s actual usurpation of Mantua at that time (cf. Guffey 6).
Like in the original, Antonio has ousted his brother Prospero from his throne in Millain with the help of Alonzo, Duke of Savoy, who himself has usurped the Dukedom of Mantua and expelled the legitimate heir to the throne, Hippolito. Both Prospero and Hippolito – who has been committed to the legal Duke of Millain by his father – are abandoned to the sea. Introducing the characters of Hippolito and Dorinda, Miranda’s sister, Dryden creates counterparts to Shakespeare’s Miranda because both of them have never seen a “being” of the opposite sex either. Hippolito is therefore “an ‘excellent contrivance’ in two ways, being both a man who has never seen a woman and a duke who has never seen his dukedom” (Wikander 91). Prospero hides Hippolito from his daughters, calling women “dangerous enemies of men” (2.4.31), but he wants his daughters to keep away from Hippolito, too, evoking the peril that “lies in a wild / Young man” (2.4.104-5).
Summary of Chapters
1. Introductory remarks – adaptations of Shakespeare’s plays: The author outlines the scope of the study, focusing on John Dryden’s adaptation of The Tempest for the Restoration era.
2. Shakespeare in the Restoration period: This chapter analyzes the political and social landscape of post-1660 England, detailing the reopening of theaters and the emergence of the "comedy of manners."
3. Dryden’s adaptation of The Tempest: The core section provides an in-depth analysis of the creative changes in plot, character, staging, and language between Shakespeare’s original and the Dryden-Davenant version.
4. Dryden as the better Shakespeare? – an attempt at a conclusion: The final chapter reflects on the legacy of the adaptation, acknowledging its historical success while noting the divide in critical opinion regarding the alteration of Shakespearean texts.
Keywords
John Dryden, William Shakespeare, The Tempest, Restoration period, The Enchanted Island, theatrical adaptation, comedy of manners, English opera, plot changes, staging, linguistic modernization, drama, Restoration theater, power, usurpation.
Frequently Asked Questions
What is the primary objective of this term paper?
The paper aims to examine how John Dryden adapted Shakespeare's The Tempest for the Restoration public, specifically analyzing his modifications to the plot, language, and staging while maintaining the original framework.
Which historical period is central to this analysis?
The paper focuses on the English Restoration period, specifically the years following the return of the monarchy in 1660, which significantly altered the landscape of English theater.
What is the core research question?
The research explores the extent to which Dryden contributed his own artistic vision and stylistic preferences to The Tempest while keeping the play accessible and relevant to a contemporary audience.
What methodological approach does the author use?
The author employs a comparative literary analysis, evaluating primary texts of the adaptation against the original and utilizing historical context to explain the motivations for the changes.
What characterizes the "new" Tempest by Dryden?
The adaptation is characterized by an enlarged cast, the addition of new characters like Hippolito and Dorinda, a shifting thematic focus toward power and usurpation, and the integration of operatic elements and staging effects.
How does the author define the key features of the work?
The work is defined by the transformation of theatrical facilities, the shift in political motifs, and the simplification of language, which the author describes as a process of "de-poetization."
How does the adaptation of the character Hippolito influence the plot?
Hippolito acts as a mirror to Miranda; as a man who has never seen a woman, he creates new dynamics of discovery and conflict that shift the focus of the romantic subplots.
Why was the "English opera" transition significant?
The transition allowed for the utilization of advanced stage machinery and ornamental productions, which helped meet the Restoration audience's demand for visual spectacle.
Does the author conclude that Dryden’s version is superior?
The author avoids declaring one version superior, instead emphasizing that both the original and the adaptation contributed uniquely to the theatrical development of their respective eras.
- Quote paper
- Stefan Kraus (Author), 2006, Dryden's Adaptation of Shakespeare's 'The Tempest', Munich, GRIN Verlag, https://www.grin.com/document/68828
