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All for Love; or, the World Well Lost, is a heroic drama by John Dryden which is now his best-known and most performed play. It is a tragedy written in blank.
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- Restoration tragedy and heroic drama: John Dryden's all for love, or the world well lost
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Like many dramatists who worked with this historical material, Dryden was inspired by the Roman historians, especially Dio Cassius and Plutarch. All for Love opens with two Egyptian priests, Serapion and Myris, who talk about a series of unusual occurrences flooding and sudden storms which they interpret as omens foretelling the downfall of Egypt. He confronts them with his pronounced disbelief in religious superstitions; the real storm about to break, he points out, is the military threat of the Roman forces outside the city.
He forbids Ventidius to criticise Cleopatra. However, his friendship for Ventidius finally makes him agree to leave Cleopatra behind and to join his new troops, ready to fight.
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The second act shows us Cleopatra in conversation with Alexas and her maids, Iras and Charmion. The sober Alexas tells her that erotic love is a bad advisor because passion distorts perception like looking through water 2.
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Alexas advises her to desire a personal farewell from Antony. Well, Madam, we are met. Is this a Meeting? Then, we must part?
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We must. Who sayes we must? Our own hard fates. We make those Fates our selves. Her love for him, she claims, is stronger than her attachment to her kingdom or even to her own life.
In act 3, we see Antony and Cleopatra joined in a harmonious embrace. Antony wants to avoid Ventidius, who has to physically pull him back in order to talk to him. Soon after this family tableau, the rival queens meet in a confrontation between law and love. Apparently, the original casting of a matronly actress as Octavia opposite a physically attractive Cleopatra contributed to this distribution of sympathies in favour of the mistress rather than the wife. But Antony cannot bring himself to part with his mistress. Dollabella, left to his own devices, expresses his conflict between his friendship for Antony and his own erotic desire for Cleopatra.
At this point, Cleopatra enters, talking with her Eunuch Alexas; they are observed by Ventidius. Alexas develops a plan to make Antony jealous, using Dollabella as a foil. Cleopatra hesitates but finally gives in. Hearing this, Cleopatra faints, thus proving her true love for Antony. Cleopatra, in turn, confesses to having feigned her excessive kindness to Dollabella in order to make Antony jealous. My Cleopatra? I do not lye, my Lord. Is this so strange?
Restoration tragedy and heroic drama: John Dryden's all for love, or the world well lost
Should Mistresses be left, And not provide against a time of change? Antony is outraged and pushes Alexas out, telling him to go to hell. Antony banishes Dollabella and retreats to the tower of Pharos, from where he observes the sea battle between the Egyptian and Roman fleets. The priest Serapion enters to report that the Egyptian ships have surrendered to Octavian without a fight. In order to save his own skin, Alexas tells Antony that Cleopatra was innocent and has committed suicide.
He calls upon Ventidius to kill him with his sword, but Ventidius kills himself instead. Antony falls upon his own sword, mortally wounding himself. And now to die each others; and, so dying, While hand in hand we walk in Groves below, Whole Troops of Lovers Ghosts shall flock about us, And all the Train be ours. The maidservants bring her a casket with venomous snakes, with which Cleopatra kills herself.
The maidservants also die. The play closes with Serapion, bringing in Alexas as a prisoner to be handed over to Octavian, the new ruler who is just about to enter the city.
Teuber The last change now is that he knows it. In its rather static presentation, it sometimes gives the impression of a drama of ideas. The final act, a spiritual recognition scene in the Aristotelian sense of anagnorisis, culminates in the lovers seeing themselves for what they really and truly are; its tragedy lies in the fact that by then it is too late for them to turn things around.
All the lovers can hope for in the afterlife is fame and renown for their unconditional love. Like many earlier heroic plays, All for Love is about the siege of a city, Alexandria. But the glory they reach is no longer the same as in earlier heroic plays. Antony and Cleopatra escape from the formulaic posturing and rather absurd speeches of heroes and heroines in earlier heroic plays. Bibliography Primary works Banks, John. London: Langley Curtis. Boyle, Roger, Earl of Orrery. The Generall.
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In: William Smith Clarke Ed. Crowne, John. Logan Eds. The Dramatic Works of John Crowne. Dryden, John. The Works of John Dryden. Swedenberg, Jr. The Indian Queen. In: Works IX. Tyrannick Love: or, The Royal Martyr. In: Works X. In: Works XI. In: Works XII. In: Maximillian E. Novak Ed. Killigrew, William. Ormasdes: Three Plays. London: Playfere and Horsman. Lee, Nathaniel. The Tragedy of Nero, Emperour of Rome. In: Thomas B. Cooke Eds. The Dramatic Works of Nathaniel Lee.
In: Dramatic Works 1. Otway, Thomas.
In: J. Ghosh Ed. The Works of Thomas Otway. Oxford: Clarendon Press. Sedley, Charles. Antony and Cleopatra. London: Richard Tonson.
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Settle, Elkanah. Cambyses King of Persia. London: William Cademan. The Empress of Morocco. Five Heroic Plays. Westport, CN: Greenwood Press. Annotated Bibliography Berensmeyer, Ingo. An investigation into the cultural underpinnings of English neoclassicism, which form the basis of Dryden's work. Clarke, William S.