Marriage A-La-Mode

by John Dryden

Published 1 June 1981
Whether for love or ambition, for parental approval or reasons of state, marriage has complicated the lives of all who enter into it. First performed in 1671, Dryden's Marriage a la Mode portrays the motives high and low that make marriage the pivotal institution of a nation.

Like Dryden's best tragicomedies, Marriage a la Mode has a double plot. The hopes that marriage excites and the regrets it suffers, the possibilities it opens and the opportunities it denies, its potential nobility and its vulnerability to decay provided Dryden with plentiful dramatic material. Comedy and pathos intersect in plots that entangle and surprise like marriage itself.


All for Love

by John Dryden

Published September 1969

Although John Dryden the poet is best known for his alexandrine epics, John Dryden the playwright is most honored for this blank verse tragedy. The summit of Dryden's dramatic art, All for Love (1677) is a spectacle of passion as felt, feared, and disputed in the suspicious years following the English Civil War.

Due to its dramatic compression and elegance, All for Love is one of the most enduring plays of the Restoration repertory. It was so successful that in the eighteenth century Dryden's tragedy drove Shakespeare's Antony and Cleopatra from the stage.

The play depicts the catastrophic passion of Cleopatra and Marc Antony, who could not be conquered but by love. Fidelity to family and friends, adherence to codes of honor, national loyalties, and the rule of law compete with each other, tearing the world with violence.


All for Love

by John Dryden

Published 21 June 2004
All for Love or, The World Well Lost is John Dryden's 1677 adaptation of the tragedy of Antony and Cleopatra into a neo-classical quintet with supporting voices: After Cleopatra's desertion of Antony at the battle of Actium, not only his wife Octavia but also his general Ventidius and his friend Dolabella strive to win him over to their side. Antony, torn between the claims of duty, friendship, dignity and love, despairs when he hears the rumour of Cleopatra's death, which is not, as in Shakespeare's version, spread by the queen herself but by her deceitful eunuch. This edition includes Dryden's dedication of the play to the Earl of Danby and his preface, in which he defends against French neo-classicist strictures the liberties he took with his sources; it further discusses the play's austere power in the theatre, which is unjustly considered to be inferior to Shakespeare's quite distinct version of the story.