In a desperate wish fulfillment, Dryden pretends to prophesy, “with a distant view, I see / Th’amended Vows of On his deathbed, Charles II declared his conversion to Catholicism, and his Catholic brother James succeeded to the throne, issuing some “Royal Papers” detailing not only Charles’s but James’s first wife’s Catholic faith. Későbbi alkotásai azonban már annál inkább: 1668-tól már a King's Company (amelynek később részvényese is lett) szerződtette évi három színdarab megírására.
Richdige Ruem het em d Dichdig ... e Hufe glaube, ass dr Dryden "en äifachs Gmüet" gha häig und nid gnueg Iinsicht, wie dr T. S. Eliot in Homage to John Dryden gschriibe het. Indeed, all of Dryden’s villains assault the social logos through disloyalty, hypocrisy, and perjury, thus challenging the underwriting divine Logos.Purloining Locke’s own concept of prudence, Dryden then asks in his most conciliatory mode, “Yet, grant our Lords the People Kings can make, / What Prudent men a setled Throne woud shake?” While Dryden appears to be adopting a Burkean conservatism based on the weight of tradition—as is obvious from all the references to God’s involvement in anointing and supporting kings throughout the poem—the grammatical uncertainty of the first line images forth the political anarchy that would ensue if anyone but God—lords, commoners, kings themselves, by tampering with succession—were to make a king.Dryden then proceeds to portray the king’s friends as a loyal group of peers, bishops, judges, and even the former speaker of the (now rebellious) House of Commons. From the truly rebellious aristocrats (implicitly a mere fringe group) he selects his old enemy Buckingham, whom he portrays as too inconstant in his moods, postures, and political positions to remain constant to any one—or, by implication, to the king. He contributed politically satirical prologues and epilogues to several plays.
Howard, who had acted as Dryden's patron for some time, went on to have a public dispute with him over the use of rhyme in drama, but they were reconciled before Howard's death. Első műve, a The Wild Gallant, 1663-ban jelent meg, de nem aratott különösebb sikert.
Im gliiche Joor het er d Lady Elizabeth Howard ghürootet. He concluded his career with a contribution to a revision of John Fletcher’s Classic and contemporary poems to celebrate the advent of spring.
Lady Elizabeth mindenesetre három fiút szült neki, és túl is élte őt.
Dryden closes the poem by underwriting David’s words with the Word of God: “He said. Even if he were legitimate, Dryden implies, he would never be the heir (because he has shown by his character that he could never merit it?
All along the poem seems to have a dual raison d’être: to explain Dryden’s conversion but also to achieve an alliance between Catholics and Anglicans against the Dissenters. The next couplet provides a crashing diminuendo:The poem is a mock panegyric, a paradoxical encomium, complete with parodic procession and coronation. His attempt to steer a middle way between what he calls “Extreme[s]” concerning the issue of tradition in biblical interpretation is really a political stance, a proto-Burkean conservatism:The extremes he attacks in the religious sphere are the same he has been attacking in the political: Catholics and Dissenters, the Catholics especially for their gnostic priesthood, the Dissenters for their pernicious doctrine of individual interpretation, which leads ultimately to the kind of political instability, disturbance of the “Peace,” and loss of “Common quiet” detailed above.
Magát az Aureng-zebe-et ugyan ennek ellenére még rímekkel írta, de későbbi drámáiban már nem is vetemedett ilyesmire; következő színművét, a Mindent a szerelemért-et (1678) már szabadversben írta.
His concluding prophecy seems a bitter wish-fulfillment:If as at the end of Absalom and Achitophel Dryden is again collapsing both earthly and heavenly monarch together, his vision has progressed from apotheosis to apocalypse, the ultimate curse of the satirist.In the immediate aftermath of the Exclusion Crisis, Dryden continued to attack the Stuarts’ enemies. Howard and his brother-in-law, the poet John Dryden, co-wrote The Indian Queen, later set to music by Henry Purcell. They are preoccupied with the need for political stability and the concomitant necessity of loyalty to de jure monarchs, whose titles are inherited through primogenitive patrilinearity. But as a teenager he was sent to the King’s School at Westminster to be trained as a King’s Scholar by the brilliant Royalist headmaster Richard Busby. Apparently Dryden felt obliged to publish another philosophical poem, documenting his own confession of faith and answering his earlier Biographers will never ascertain just why Dryden converted, and critics will probably always accuse him of being an opportunist. The pun on crown, referring to Christ’s crown of thorns, is savage.Some think the Fools were most, as times went then;Instead of mythologizing the political theory he defends, Dryden attempts to justify it on pragmatic grounds, that their British forefathers attempted to avoid factional civil war by securing peaceful succession of both power and property through primogeniture.
Other poets' work paid tribute to Howard.
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