The hero who speaks these words in Dryden's play is a Spanish Muslim, who, at the end of the play, in keeping with the requirements of a heroic drama, is revealed to have been, unbeknownst to himself, the son of a Christian prince ( since heroic plays by definition had noble and exemplary protagonists ).

Pope's phrase, " Lo the Poor Indian ", became almost as famous as Dryden's " noble savage " and, in the 19th century, when more people began to have first hand knowledge of and conflict with the Indians, would be used derisively for similar sarcastic effect.

He contributed three pieces to the collection of Poems to the Memory of Edmund Waller ( 1688 ), afterwards reprinted in Dryden's Miscellany Poems, and is said to have written the Latin inscription on Waller's monument in Beaconsfield churchyard.

By taking Dryden's own words out of context and pasting them together, Buckingham disrupts whatever emotions that might have gone with them originally and exposes their inherent absurdity.

To some degree, this imagery of unholy consecration had been present in Dryden's MacFlecknoe, but Pope's King of Dunces is much more menacing than Thomas Shadwell could ever have been in Dryden's poem.

Sir John's daughter Elizabeth inherited what is thought to have been the priory farmhouse-Wilkyns farm was part of John Dryden's inheritance.

The song " Lather ", appearing on the Airplane's Crown of Creation, is said to have been written by Grace Slick on the occasion of Dryden's 30th birthday.

Dryden's solution was a closed couplet in iambic pentameter that would have a minimum of enjambment.

Previous generations of theatre historians have despised the operatic spectaculars, perhaps influenced by John Dryden's sour comments about expensive and tasteless " scenes, machines, and empty operas ".

Dryden's replacement as the Airplane's drummer was Joey Covington, an L. A. musician who had been sitting in with Hot Tuna during 1969.

What is interesting is that the word " parody " had not been used for prose before, and the definition he offers is arguably a parody of John Dryden defining " parody " in the Discourse of Satire ( the Preface to Dryden's translations of Juvenal's and Persius ' satires ).

It has been suggested that Wesley's words were written specifically for the tune by Purcell to which Dryden's song had been set, and to which the hymn's words themselves were later set ( under the tune name " Westminster ") by John Wesley in his Sacred Melody, the " annex " to his Select Hymns with tunes annext ( 1761 et seq.

In particular, Dryden's The Conquest of Granada, which had been his most popular play ( and the one whose preface had defined " heroic drama "), is the play Buckingham parodies.

The oceanic city of Venice had been used as a stand-in for London before, but the subtext most noticeable to contemporaries was the parallel with the Exclusion Crisis ( see, for example, Dryden's Absalom and Achitophel ).

However, Pope's poem is far more wide-ranging and specific than Dryden's had been.

It has been said that when Tonson bought the copy of Troilus and Cressida ( 1679 ), the first play of John Dryden's that he published, he was obliged to borrow the purchase money (£ 20 ) from Abel Swalle, another bookseller.

Dryden's satirical account of his appearance has been quoted ; Pope, in The Dunciad calls him " left-legged Jacob " and " genial Jacob ".

In 1687, he resumed his connection with the theatre by furnishing the music for Dryden's tragedy, Tyrannick Love.

In English the phrase first appeared in the 17th century in John Dryden's heroic play, The Conquest of Granada ( 1672 ), where it was used by a Christian prince disguised as a Spanish Muslim to refer to himself, but it later became identified with the idealized picture of " nature's gentleman ", which was an aspect of 18th-century sentimentalism.

Notable innovations from Dryden's adaptation include music by Henry Purcell and the character of Phaedra, who flirts with Sosia but is eventually won over by Mercury ’ s promises of wealth.

* John Dryden's play All for Love was deeply influenced by Shakespeare's treatment of the subject.

Dryden is known by people passing by as the home of " Max the Moose ", Dryden's high mascot on the Trans-Canada Highway.

He was the author of The Rehearsal, an amusing and clever satire on the heroic drama and especially on Dryden's The Conquest of Granada ( first performed on 7 December 1671, at the Theatre Royal, and first published in 1672 ), a deservedly popular play which was imitated by Henry Fielding in Tom Thumb the Great, and by Sheridan in The Critic.

While campaigning, a letter sent to Dryden by Ya ' acov Brosh, Consul-General of Israel in Toronto was put in Dryden's campaign literature, allegedly without Brosh's permission.

In the second part of Absalom and Achitophel, in a passage certainly by Dryden's hand, he figures as " Doeg.

While Dryden's own plays would themselves furnish later mock-heroics ( specifically, The Conquest of Granada is satirized in the mock-heroic The Author's Farce and Tom Thumb by Henry Fielding, as well as The Rehearsal ), Dryden's MacFlecknoe is perhaps the locus classicus of the mock-heroic form as it would be practiced for a century to come.

It first appeared in Wesley's Hymns for those that Seek, and those that Have Redemption ( Bristol, 1747 ), apparently intended as a Christianization of the song " Fairest Isle " sung by Venus in Act 5 of John Dryden's operatic play King Arthur ( 1691 ), on which Wesley's first stanza is modelled.

Dryden's poem tells the story of the first foment by making Monmouth into Absalom, the beloved boy, Charles into David ( who also had some philandering ), and Shaftesbury into Achitophel.

Alfred Harbage has argued that two of John Dryden's plays, The Wild Gallant ( 1663 ) and The Mistaken Husband ( 1674 ), are adaptations of otherwise-lost plays by Brome, based on the plays ' internal evidence of plot and style.

Thaïs appears as Alexander's mistress in John Dryden's poem Alexander's Feast, or the Power of Music ( 1697 ), which begins with a description of Alexander enthroned with " the lovely Thais by his side " who sat " like a blooming eastern bride ".

His number 25 jersey was retired by Cornell in 2010, shared with Ken Dryden's number 1 as the first such numbers retired by the hockey team, and believed the first in any sport in the school's varsity sports history.

It was the second-most saves by a goaltender in a Stanley Cup Finals game, coming within four stops of Canadiens goaltender Ken Dryden's 56 saves in 1971 against the Chicago Blackhawks.

Anne Bracegirdle appearing in John Dryden's The Indian Queen in a headdress of feathers purportedly given by Aphra Behn to Thomas Killigrew.

In 1690, he composed the music for Betterton's adaptation of Fletcher and Massinger's Prophetess ( afterwards called Dioclesian ) and Dryden's Amphitryon.

* John Dryden's All for Love

For example, Dryden's All for Love, a redaction of Shakespeare's Antony and Cleopatra, attempted to compress the sprawl of action and multiple settings from Egypt to Rome to a single place, and within a 24 hour time frame.

The familiar phrase “ Man proposes: God disposes ” is an example of antithesis, as is John Dryden's description in The Hind and the Panther: “ Too black for heaven, and yet too white for hell .”

* In John Dryden's poem The Secular Masque, Momus mocks the gods Diana, Mars, and Venus for the vanity of what they represent among human beings.

Notable heroic tragedies of this period include John Dryden's All for Love ( 1677 ) and Aureng-zebe ( 1675 ), and Thomas Otway's Venice Preserved ( 1682 ).

He also wrote incidental music for John Dryden's Conquest of Granada and Marriage à la Mode, George Etheridge's The Man of Mode, Nathaniel Lee's Gloriana, and Thomas Shadwell's Epsom Wells.

He adapted Robert Cambert's opera Ariadne for a London performance in 1674, and wrote music for John Dryden's Albion and Albanius in 1685.

Eccles was very active as a composer for the theatre, and from the 1690s wrote a large amount of incidental music including music for William Congreve's Love for Love, John Dryden's The Spanish Friar and William Shakespeare's Macbeth.

He also wrote the masque Peleus and Thetis and songs for John Dryden's Secular Masque, incidental music for William Shakespeare's The Tempest, Cymbeline, Romeo and Juliet and The Winter's Tale, and a quantity of chamber music including a set of twelve trio sonatas.

The forcefully masculine 45-year-old Hart " was celebrated for superman roles, notably the arrogant, bloodthirsty Almanzor in John Dryden's Conquest of Granada ", and also for playing rakish comedy heroes with nonchalance and charisma.

) Beaumont and Fletcher's Philaster and Dryden's The Maiden Queen were also staged with all-women casts in this time ; Dryden wrote new Prologues for the productions.

The best examples of blank verse from this time are probably John Dryden's tragedy All for Love and James Thomson's The Seasons.

Several of members of Alcock's political organization later worked for Ken Dryden's campaign, and Alcock himself endorsed Dryden at the leadership convention.