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The King and I: John Dryden’s Don Sebastian and Cleomenes as Elegies on the Stuart Monarchy
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The purpose of this paper is to examine John Dryden’s appraisal of his relationship with Post-1688 Britain as a non-juror in his last two tragedies, Don Sebastian (1689) and Cleomenes (1692). This paper argues that Dryden takes an ambivalent stance towards the Stuart monarchy to which he is still loyal in his dramatization of historical figures who lost their thrones, Don Sebastian of Portugal and Cleomenes of Sparta. In Don Sebastian Dryden debunks the myth of the Glorious Revolution by revealing the self-interest operating behind its slogans such as ‘religion,’ ‘property,’ and ‘law.’ However, Dryden does not believe in the possibility of another restoration as he exposes covertly the royal flaws of James II through the incest of Sebastian and Almeyda that causes the failure of their restoration to their thrones. Dryden’s skepticism about the possibility of another restoration is repeated and even intensified in Cleomenes. In Cleomenes, Cleomenes’s heroic quality as a rightful king is acclaimed only to be deflated, as his heroic quality comes to be under constant stress and his impotence to control the circumstance is repeatedly revealed. This paper argues that, though Cleomenes’s final suicide seems on the surface heroic and honourable, it only confirms his inability to work a restoration. In this respect, Don Sebastian and Cleomenes are Dryden’s elegies on the Stuart monarchy that reveals yesterday cannot return to become the present. However, this paper asserts that Dryden also uses these dramas to argue for his worth as a dramatist who can turn his plight as a non-juror and skepticism about his master into a worthy art and a commercial success.
Abstract
The purpose of this paper is to examine John Dryden’s appraisal of his relationship with Post-1688 Britain as a non-juror in his last two tragedies, Don Sebastian (1689) and Cleomenes (1692). This paper argues that Dryden takes an ambivalent stance towards the Stuart monarchy to which he is still loyal in his dramatization of historical figures who lost their thrones, Don Sebastian of Portugal and Cleomenes of Sparta. In Don Sebastian Dryden debunks the myth of the Glorious Revolution by revealing the self-interest operating behind its slogans such as ‘religion,’ ‘property,’ and ‘law.’ However, Dryden does not believe in the possibility of another restoration as he exposes covertly the royal flaws of James II through the incest of Sebastian and Almeyda that causes the failure of their restoration to their thrones. Dryden’s skepticism about the possibility of another restoration is repeated and even intensified in Cleomenes. In Cleomenes, Cleomenes’s heroic quality as a rightful king is acclaimed only to be deflated, as his heroic quality comes to be under constant stress and his impotence to control the circumstance is repeatedly revealed. This paper argues that, though Cleomenes’s final suicide seems on the surface heroic and honourable, it only confirms his inability to work a restoration. In this respect, Don Sebastian and Cleomenes are Dryden’s elegies on the Stuart monarchy that reveals yesterday cannot return to become the present. However, this paper asserts that Dryden also uses these dramas to argue for his worth as a dramatist who can turn his plight as a non-juror and skepticism about his master into a worthy art and a commercial success.
참고문헌 (23)
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