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• W2603053898 abstract "John Dryden's Marriage A-U-Mode, first performed in 1671, begins a new phase of sex that, as Maximillian Novak has argued, embodied concepts of and sophisticated associated with (2). Libertines might have espoused civilized and sophisticated life during 1 670s, but they more often practiced indecent, less than acts of debauchery. Such acts were staged in comedies written during decade, including ones by Dryden, whom Novak suggests, before late 1670s, was master of smutty comedy (3). Dryden wrote several plays like The Kind Keeper; Or Mr Limber ham (1678), a sex commissioned by Charles II to be written in style of Thomas D'Urfey's A Fond Husband (1677). Dryden, always aware of own career, could write material he knew would please court, although he did not always treat sexuality in plays in 1670s merely as amusing smut.The king and court often used Epicureanism as an excuse for excessive sexual gratification, and like many, Dryden had a longstanding interest in Lucretius and neo-Epicurean revival during seventeenth century. According to Charles Trawick Harrison, Dryden did the greatest service, both in elucidation and in praise ... to Lucretius by any poet of (76). Dryden had planned to translate Lucretius' De rerum natura much earlier than 1685, when partial translation of text appeared in Sylvae: or Second Part of Poetical Miscellanies, and although he had intellectual interests in philosophical and scientific possibilities of Lucretius' De rerum natura, he nevertheless translates more of Book 4, which focuses on physical passion, than other six books, acknowledging interest in topic in Preface.While Dryden can appear to condone sexual extravagance in a play like The Kind Keeper, he also, writing nearly at same time, can elevate it to tragic and heroic dimensions with distinct political overtones in plays like All for Love (1677). The libertines in Marriage A-laMode advocate what Novak describes as total sexual license as a possible way of life (2), and Dryden dedicates play to John Wilmot, Earl of Rochester. Dryden knew he must please king and court, but he wrote plays like Marriage A-la-Mode that are more ambivalent toward court's licentiousness. Though he does not moralize, Dryden shows disapproval toward libertine figures for their subversive desires, which are linked thematically with larger problems of illegitimate rule introduced in heroic plot.Rhodophil, one of restorers of Leonidas to throne, must first subdue Doralice, libertine wife, who nearly succeeds in cuckolding her husband with Palamede, friend and rival. Doralice's potential liaison with Palamede calls into question legitimate transference of inheritance, and it is only when Rhodophil regains control over Doralice in comic plot, ensuring legitimacy in marriage and future heirs, that he can turn attention to restoring Leonidas, lawful successor to throne, in heroic plot. `The double plot aliows Dryden to concentrate on relationship between political and sexual, though critics have disagreed about Dryden's purposes for tragicomic form.In describing Dryden's use of tragicomedy, Robert Markley explains that form offers two sets of assumptions that register his audience's conflicting responses to social and political experience (89). Laura Brown contends that Dryden keeps plots distinct on aesthetic grounds, while Michael McKeon disagrees with Brown, suggesting that a dialectical unity holds them together through thematic contradictions (162). Derek Hughes argues that public knowledge makes possible world of private in play (Unity). J. Douglas Canfield contends that Restoration tragicomedy's primary concern remains ethical, particularly [in regards to] sexual relations and problem of constancy (Ideology 448). …" @default.
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• W2603053898 date "2009-07-01" @default.
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• W2603053898 title "Decencies of Behavior: Dryden and the Libertines in Marriage A-la-Mode" @default.
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