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John M. Aden - Critical Opinions of John Dryden

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title The Critical Opinions of John Dryden A Dictionary author - photo 1

title:The Critical Opinions of John Dryden : A Dictionary
author:Aden, John M.
publisher:Vanderbilt University Press
isbn10 | asin:
print isbn13:9780826510624
ebook isbn13:9780585137957
language:English
subjectDryden, John,--1631-1700--Knowledge--Literature--Dictionaries.
publication date:1963
lcc:PR3422.A7 1963eb
ddc:828.4
subject:Dryden, John,--1631-1700--Knowledge--Literature--Dictionaries.
Page iii
The Critical Opinions of John Dryden
A Dictionary
Compiled and Edited
by John M. Aden
Vanderbilt University Press Nashville 1963 Page iv - photo 2
Vanderbilt University Press
Nashville 1963
Page iv
Copyright 1963 by John M. Aden
Second Printing, with Addenda, 1967
Library of Congress Catalogue Card Number: 63-9945
Composed, printed, and bound by Kingsport Press, Inc.
Kingsport, Tennessee, U. S. A.
Page v
To
the Memory of
My Mother and Father
Page vii
Table of Contents
Preface
ix
Lists of Topics and Authors
xv
Editions and Abbreviations
xxi
A Chronology of the Sources, with Abbreviations
xxiii
Critical Opinions
1
Selective Index
281
Addenda
291

Page ix
Preface
I have based this compilation of Dryden's critical opinions upon the whole of his prose works, including essays, dedications, prefaces, au lecteurs, headnotes, arguments, notes and observations, biographies, histories, and letters. In two or three instances I have drawn upon Joseph Spence's Anecdotes (ed. S. W. Singer, London, 1820). Criticism expressed in verse or drama I have not attempted to include, partly because such criticism is not as characteristic of Dryden as the prose, partly because its inclusion would have extended the size of the book beyond practical limits.
Within the boundaries indicated I have sought to include all significant critical opinion. In addition I have admitted some matter not strictly critical in nature, but more nearly literary or literary-historical. There is for example an entry on Charles II. And there are entries on such topics as booksellers, the Commonwealth, music, timeservers, etc. Under the heading DRYDEN I have included not only all of Dryden's self-criticism, but all of his comment on his literary activities, associations, and conduct. If, in other words, I have consciously erred in respect to content, it has been on the side of excess, in the hope of making the book more generally useful. It has not been possible, of course, to admit everything. I have not, for example, included all persons referred to by Dryden. I hope that no one important has been omitted, though perhaps no two persons are likely to agree on that. It should be noted, however, that some names, not included among the entry headings, may be traced to mention elsewhere by means of the index at the end of the volume. Thus Poussin, for whom there is no entry in the text, may be traced, by this means, to his mention under the heading POETRY AND PAINTING. Of other kinds of omission more will be said below.
Contents are arranged in two ways: alphabetically by subject and chronologically within subjects. Thus FANCY will be found in its proper place in the alphabetical sequence, and under that heading Dryden's remarks on the subject in chronological order. Likewise, with a few exceptions, subdivisional headings are presented alphabetically and contents under them arranged chronologically. In some few topics, such as STYLE and TRANSLATION, I have substituted a logical for the alphabetical arrangement in order to permit certain groupings which seemed desirable. Cross references follow the chronological principle throughout.
Generally entry rifles follow the logic normal in such matters, being what in
Page x
their nature they could not otherwise be, such as TASTE for all content relative to that subject. But not all subjects lent themselves easily to titling, and I was occasionally driven to make shift with phrases and coinages. For Dryden's "lazar and Venus" I could think of no better title than the phrase itself, and, under PORT, I was at a loss to express the idea of nimis poeta in any other way than by the Latin phrase itself. For the business of focusing on a principal character, either in painting or in drama, I used the term HIGHLIGHTING. And so on. I did not attempt to distinguish "poetry" in the old sense of any fiction from "poetry" in the modern sense of verse composition, but the user aware of the distinction will not, I trust, experience any special difficulty on that account. The consultant who does not immediately find what he is seeking will do well to run through the list of Topics and Authors. Once in possession of the main heading, subdivisional titles will be reviewed in course and should give no trouble. The user will also be advised, where his subject appears to elude him, to look across related titles, for it was not always easy to draw sharp distinctions or create tight compartments. The distinction among CRITIC, CRITICASTER, and CRITICISM, for instance, is necessarily arbitrary at times. The user will not need to be reminded to proceed in this way with such topics as FANCY, IMAGINATION, and WIT. As for titles of literary works, they are not, as a rule, entered in the main listing, but are confined to subdivisions under author headings. Thus, one looking for Dryden's comment on
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