Passages Imitated from DRYDEN'S avowal that in his style he professed to imitate the divine Shakespeare" is less candid than it seems. The following tabulation shows that besides imitating in a general way Shakespeare's diction and versification, he inserted into All for Love not a little of the genuine substance of Shakespeare, using as his quarry not only Antony and Cleopatra, but numerous other plays. To Shakespeare's phrases, images, and turns of speech, he helped himself freely. To a less extent, the same habit appears in The Spanish Fryar. Of course, in lists of this kind there is room for differences of opinion. In some instances below (but in very few, I believe) some readers may doubt that the resemblance implies conscious borrowing. Other readers may be inclined to see direct imitation in passages which I have excluded from my lists. But most of the parallels here given are beyond dispute. Where a passage imitated from Antony and Cleopatra has its counterpart in Plutarch, this is indicated by a reference to the page in North, Plutarch's Lives (The Tudor Translations, edited by W. E. Henley), vol. VI (1896). In the preparation of the first two lists I have been under great obligations to Miss Josephine Britton, a graduate student in Cornell University. Passages in All for Love imitated from Antony and Cleopatra. All for Love. I, 447-451. II, 7-12. II, 122. II, 409-412. III, 24-28. III, 401-404. IV, 240-242. V, 231-235. V, 395-397. ▼, 454-456. v, 459–462. V 479-480. V, 501-504. Antony and Cleopatra. III, xiii, 191–194. IV, XV, 72-78. Iv, i, 5 (Plut. p. 78). 1, iii, 97-99. III, xiii, 90–92. 11, ii, 196–223 (Plut. pp. 25-26) 11, V, 111–114; 11, iii, 9–37. II, V, 118-119. 11, ii, 244–245. Iv, xii, 9-13 (Plut. p. 78). Iv, xiv, 29-34. IV, xiv, 35. Iv, xiv, 46–47. ïv, xiv, 85–86 (Plut. p. 79). Iv, xiv, 51-54. v, i, 55. v, ii, 208-21I. v, ii, 286-290. IV, xv, 80-82. IV, XV, 14-17. v, ii, 227–229. v, ii, 323-324. v, ii, 328-330 (Plut, p. 87). 1 References are to the Globe edition (Clark and Wright) THE TEXT Three editions of All for Love were published during Dryden's lifetime, in the years 1678, 1692, and 1696. These editions, all in quarto, are here designated as Q1, Q2, and Q3. It is obvious, upon comparison, that they represent a single text. Q2 was set up from a copy of Q1, and Q3 from a copy of Q2. The text here reproduced is that of Q1, collated with those of Q2 and of Q3, all from copies in the Harvard University Library, and with that of the Scott-Saintsbury reprint in the Works, vol. v (1883), here designated as Sb. The agreement of Q2 and Q3 with Q1 is indicated by the symbol Qq. The spelling of Q1, not entirely uniform, and somewhat more old-fashioned than that of Q2 and Q3, has been followed throughout, as being at least closer to Dryden's own. The italics, punctuation, and capitalization of the original are modernized. When, as frequently occurs, the Qq begin a word following a colon with a capital letter, this has been taken, with but few exceptions, to denote the continuation of the sentence, and the capital is replaced by lower case, with the substitution, as a rule, of a semicolon for the colon. Signs of parenthesis in the text proper are in all cases retained from Q1. The stage-directions are those of Q2 without change, except that asides have been more consistently indicated. The contractions found in Q1 (o', i', th', t', 't, heav'ns, etc.) are preserved, but their frequent expansion in Q2, Q3, and Sb is not recorded among the variants. Such modernizations in Sb as further for farther, than (comparative) for then, murder for murther, and 's for his (after proper names), are also disregarded. Misprints in Q2, Q3, and Sb are, as a rule, ignored. |