Introduction

The age of Elizabeth, memorable for so many reasons in the history of England, was especially
brilliant in literature, and, within literature, in the drama. With some falling off in spontaneity,
the impulse to great dramatic production lasted till the Long Parliament closed the theaters in
1642; and when they were reopened at the Restoration, in 1660, the stage only too faithfully
reflected the debased moral tone of the court society of Charles II. John Dryden (16311700),
the great representative figure in the literature of the latter part of the seventeenth century,
exemplifies in his work most of the main tendencies of the time. He came into notice with a
poem on the death of Cromwell in 1658, and two years later was composing couplets expressing
his loyalty to the returned king. He married Lady Elizabeth Howard, the daughter of a royalist
house, and for practically all the rest of his life remained an adherent of the Tory Party. In 1663
he began writing for the stage, and during the next thirty years he attempted nearly all the current
forms of drama. His "Annus Mirabilis" (1666), celebrating the English naval victories over the
Dutch, brought him in 1670 the Poet Laureateship. He had, meantime, begun the writing of those
admirable critical essays, represented in the present series by his Preface to the "Fables" and his
Dedication to the translation of Virgil. In these he shows himself not only a critic of sound and
penetrating judgment, but the first master of modern English prose style. With "Absalom and
Achitophel," a satire on the Whig leader, Shaftesbury, Dryden entered a new phase, and achieved
what is regarded as "the finest of all political satires." This was followed by "The Medal," again
directed against the Whigs, and this by "Mac Flecknoe," a fierce attack on his enemy and rival
Shadwell. The Government rewarded his services by a lucrative appointment. After triumphing
in the three fields of drama, criticism, and satire, Dryden appears next as a religious poet in his
"Religio Laici," an exposition of the doctrines of the Church of England from a layman's point of
view. In the same year that the Catholic James II. ascended the throne, Dryden joined the Roman
Church, and two years later defended his new religion in "The Hind and the Panther," an
allegorical debate between two animals standing respectively for Catholicism and Anglicanism.
The Revolution of 1688 put an end to Dryden's prosperity; and after a short return to dramatic
composition, he turned to translation as a means of supporting himself. He had already done
something in this line; and after a series of translations from Juvenal, Persius, and Ovid, he
undertook, at the age of sixtythree, the enormous task of turning the entire works of Virgil into
English verse. How he succeeded in this, readers of the "Aeneid" in a companion volume of
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these classics can judge for themselves. Dryden's production closes with the collection of
narrative poems called "Fables," published in 1700, in which year he died and was buried in the
Poet's Corner in Westminster Abbey. Dryden lived in an age of reaction against excessive
religious idealism, and both his character and his works are marked by the somewhat unheroic
traits of such a period. But he was, on the whole, an honest man, open minded, genial, candid,
and modest; the wielder of a style, both in verse and prose, unmatched for clearness, vigor, and
sanity.

Preface
The death of Antony and Cleopatra is a subject which has been treated by the greatest wits of our
nation, after Shakespeare; and by all so variously, that their example has given me the confidence
to try myself in this bow of Ulysses amongst the crowd of suitors, and, withal, to take my own
measures, in aiming at the mark. I doubt not but the same motive has prevailed with all of us in
this attempt; I mean the excellency of the moral: For the chief persons represented were famous
patterns of unlawful love; and their end accordingly was unfortunate. All reasonable men have
long since concluded, that the hero of the poem ought not to be a character of perfect virtue, for
then he could not, without injustice, be made unhappy; nor yet altogether wicked, because he
could not then be pitied. I have therefore steered the middle course; and have drawn the character
of Antony as favourably as Plutarch, Appian, and Dion Cassius would give me leave; the like I
have observed in Cleopatra. That which is wanting to work up the pity to a greater height, was
not afforded me by the story; for the crimes of love, which they both committed, were not
occasioned by any necessity, or fatal ignorance, but were wholly voluntary; since our passions
are, or ought to be, within our power. The fabric of the play is regular enough, as to the inferior
parts of it; and the unities of time, place, and action, more exactly observed, than perhaps the
English theatre requires. Particularly, the action is so much one, that it is the only one of the kind
without episode, or underplot; every scene in the tragedy conducing to the main design, and
every act concluding with a turn of it. The greatest error in the contrivance seems to be in the
person of Octavia; for, though I might use the privilege of a poet, to introduce her into
Alexandria, yet I had not enough considered, that the compassion she moved to herself and
children was destructive to that which I reserved for Antony and Cleopatra; whose mutual love
being founded upon vice, must lessen the favour of the audience to them, when virtue and
innocence were oppressed by it.

Background
Combining the unities of classical theatre and the style of Shakespearean drama, Dryden creates
an elaborately formal production in which fashionable philosophies of the time could be
discussed and debated in a public atmosphere Dryden used the theatre as a forum for testing
problematic philosophical, moral and political questions. The results of these investigations were
to form the basis of his later works.
The

original

1677

production

by

the King's

Company starred Charles

Hart as Marc

Antony and Elizabeth Boutell as Cleopatra, with Michael Mohun as Ventidius and Katherine
Corey asOctavia. All for Love; also called, The World Well Lost is a tragedy by John Dryden,
first acted and printed in 1677. Dryden deals in this play with the same subject as that of
Shakespeare's Antony and Cleopatra. Whilst, however, the elder poet "diffused the action of his
play over Italy, Greece, and Egypt," Dryden laid every scene in the city of Alexandria. Moreover,
he "contents himself with the concluding scene of Antony's history, instead of introducing the
incidents of the war with Pompey, the negotiation with Lepidus, death of his first wife, and other
circumstances which, in Shakespeare, only tend to distract our attention from the main interest of
the drama" (Sir Walter Scott). Dryden, says Saintsbury, "omits whatever in the original story is
shocking and repulsive from the romantic point of view.... The best pieces of All for Love
cannot, of course, challenge comparison with the best pieces of Shakespeare ... but the best
passages of this play, and, what is more, its general facture and style, equal, with certain timeallowance, the best things of Beaumont and Fletcher, and therefore the best things of almost any
English tragedian save Shakespeare." The original cast included Hart as Antony, Mohun as
Ventidius, Clarke as Dolabella, Goodman as Alexas, Griffin as Serapion, Mrs. Boutell as
Cleopatra, Mrs. Corey as Octavia. The play was revived at Lincoln's Inn Fields in February
1704, with Betterton as Antony, Mrs. Barry as Cleopatra, Wilks as Dolabella, and Mrs.
Bracegirdle as Octavia; at Drury Lane in December 1718, with Booth as Antony, Mrs. Oldfield
as Cleopatra, and Mrs. Porter as Octavia.

Synopsis
Act One
Serapion describes foreboding omens (of storms, whirlwinds, and the flooding of the Nile) of
Egypt's impending doom. Alexas, Cleopatra's eunuch, dismisses Serapion's claims and is more
concerned with Cleopatra's relationship with Antony. He sees that Cleopatra dotes on Antony and
worries that Antony will not continue seeing Cleopatra. Thus, Serapion hosts a festival to
celebrate Antony's honour.
Ventidius, a Roman general, comes to aide Antony in Alexandria. Ventidius disagrees with
Antony's relationship with Cleopatra and offers to give Antony troops if he leaves her. Although
Antony is insulted by Ventidius's opinions regarding Cleopatra (and refuses to hear anything
negative about her), Antony agrees.
Act Two
Cleopatra mourns about her situation without Antony. Charmion, Cleopatra's lady in waiting,
attempts to set up a meeting between Cleopatra and Antony, but she is unsuccessful. Cleopatra
thus sends Alexas to try to win back Antony using gifts (jewels including a bracelet). Alexas
suggests that Cleopatra should tie the bracelet onto Antony's wrist. In the subsequent meeting
between Cleopatra and Antony, Ventidius appears and tries to proclaim how Cleopatra is not
Antony's rightful partner and would betray him for her own safety. However, Cleopatra wins this
argument by demonstrating a letter showing that she refused Egypt and Syria from Octavius.
Antony is overjoyed by Cleopatra's decision and proclaims his love for her.
Act Three
Antony is returning from battle and is overwhelmed with love for Cleopatra. Ventidius comes to
speak with Antony, who attempts to flee unsuccessfully. Antony does not want to go back to war
but doesn't know how to stop it. He believes Dolabella can help him and Ventidius brings
Dolabella out. Dolabella, Antony's friend, appears after Antony's success in battle. Dolabella was
banished for his love for Cleopatra, but he returns to a warm welcome from Antony. Dolabella
offers a gift that will bring peace between Antony and Caesar. The gift is Octavia, Antony's true
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wife and Caesar's sister, and Antony's two daughters. Octavia tells Antony the war will stop
when he returns to his rightful place, by her side. Antony and Octavia reunite, and Alexas's
attempts to meddle for the sake of Cleopatra are dismissed. Cleopatra appears informed of her
defeat. Alexas tells her to avoid Octavia but Cleopatra chooses to face her as a rival. Cleopatra
and Octavia have an argument, it seems clear that Octavia is whom Antony rightfully belongs to,
even if it is not she whom he loves most.
Act Four
Antony has been convinced by Octavia that his rightful place is by her side, in Rome, with his
children. Antony plans to leave but does not have the strength to tell Cleopatra himself. Antony
asks Dolabella to tell Cleopatra he is leaving so that Antony will not be persuaded to stay.
Ventidius overhears that Dolabella will be going to Cleopatra to bid her farewell. He also sees
her divising a plan with Alexas to inspire jealousy in Antony by way of Dolabella. Ventidius and
Octavia see Dolabella taking Cleopatra's hand, but when the time comes to make a move
romantically, both of them fall apart from the guilt of their betrayal. Ventidius tells Antony that
Cleopatra and Dollabella have become lovers and Octavia also bears witness. Ventidius then asks
Alexas to testify to the same story, which Alexas believes to be. Antony is infuriated by this
information, but is still looking for some loophole that would confirm Cleopatra's innocence.
Antony's belief in Cleopatra's innocence hurts Octavia and she leaves permanently. When
Dolabella and Cleopatra try to explain themselves Antony refuses to believe them.
Act Five
Antony takes Cleopatra's naval fleet and sails to Caesar where he is greeted like an old friend.
They then sail back to Alexandria. When Cleopatra hears of this Alexas tells her to flee and that
he will attempt to make amends with Caesar. Cleopatra tells him this would make him a traitor
and that he cannot go to Caesar. Cleopatra flees and Alexas is left behind. Antony and Ventidius
meet up and prepare to fight. Alexas, Cleopatra's messenger, comes and informs Antony that
Cleopatra is dead. Antony then tells Ventidus to end his life, but Ventidius refuses and kills
himself. With Ventidius dead, Antony then tried and failed to commit suicide. Cleopatra then
comes in and sees Antony, still living, but on the verge of death. Antony dies. Cleopatra then kills
herself. Serapion delivers their eulogy.

Themes
Personal and political
Every character in this play is influenced by both personal and political motivations from the
powerful Marc Antony to the rest of the cast. Personal and political motives affect the central
themes of love and honour. Marc Antony has an internal conflict in choosing between his family,
Octavia and his two daughters, and his mistress, Cleopatra.The main character, Marc Antony,
shirks his political duty for the sake of his love relationship with Cleopatra. His peers deem Marc
Antony's actions to be irresponsible and believe will be the cause of his downfall. In the end,
Marc Antony dies (V.402), Cleopatra dies (V.498), and Octavius wins the war. In the end, Marc
Antony and Cleopatra, who cared more about personal matters, die, while Octavius, who cares
more about political power, becomes Caesar.
Death
The deaths taking place within this plot is "all for love." They show "love" for one's country
and/or loved ones. Antony kills himself after falling under the false pretense that Cleopatra is
dead. His servant, in an act of loyalty and honour to his country and master, kills himself before
Antony. Cleopatra distraught over the death of her beloved Antony, applies the aspes' venom to
her arm and falls to eternal death on Antony's chest. The Eygyptian servants decide to follow
their Queen in death.
Culture
Throughout "All for love," Dryden illustrates the vast cultural differences. Rome is characterised
by its military predominance. The Egyptian culture focus more on domestic affairs instead of
political matters. Antony's presence in Egypt represents Rome's political culture, while
Cleopatra's presence reflects the personal or domestic aspects of Egyptian society. Their deaths
symbolise their cultures.
Emotional weaknesses
Despite holding great positions of power, both Antony and Cleopatra are weakened by their
overwhelming love for one another. Antony's ability to fulfill his military and political duties is
7

hindered by his consistent emotional preoccupation with his love, Cleopatra. Cleopatra rejects
offers of other kingdoms, prevents Egypt's growth, neglects her queenly duties, and throws her
country into submission to the Romans all because of her infatuation with Antony.
Betrayal
Antony betrays Caesar by going back to Cleopatra and not staying with Octavia. Antony leaves
his troops behind during battle to follow Cleopatra; complete betrayal to his own troops.
Jealousy
Jealousy is predominately demonstrated in the interactions of Cleopatra towards Octavia. We can
see through the passages that Cleopatra is jealous not only of Octavia's affiliation with Mark
Antony, but additionally her great beauty.
Power
Power in this play is exhibited in many ways. In the beginning Cleopatra tries to get power over
Antony. There are many types of power exhibited, such as the power of beauty and the power
over the people.

The Plays Dedication and its Polical Context

John Dryden dedicated his play All For Love to the leader of the anti-French movement at
court, Thomas

Osborne,

Lord

Treasurer

and

Earl

of

Danby.

The

Dedication

critiques Whiggery and "republican" politics, or political practices which strove to continue the
Reformation in England. The Dedication also critiques the aggressive and intolerant Anglicanism
present in England. Danby was himself prejudiced against Catholics. This prejudice led to his
opposition of Charles IIs alliances with the Catholic French. When the Dedication was
published in 1678, Danby was at a difficult point in his career. Shortly before the fall of Ghent to
Louis XIV's forces, and the signing of a peace treaty at Nijmegen between the Dutch Republic
and France, Danby was attempting to arrange an unpopular Anglo-Dutch alliance against the
French. Using his Dedication, Dryden took advantage of this political turmoil by attempting to
befriend Danby, one of the most powerful members of the Cabinet. There were many potential
benefits for Dryden's decision to dedicate his play to Danbury. One reason for Dryden's choice
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was the economic advantages he incurred. As treasurer, Danbury had the opportunity to
monetarily reward underpaid poets. Danbury paid Dryden his full salary as poet laureate from
167377 even though the treasury was heavily depleted at the time. However, Dryden's choice of
dedicatee also allowed him to highlight the political, as well as romantic, follies within the play.
Dryden uses the Dedication to advise Danby to adopt a more moderate political stance.
Additionally, Dryden uses the Dedication to demonstrate the similarities between his patron's life
and the characters inAll for Love.
The Dedication was written in the winter of 1678, at a time when Danby was voicing his
opposition to King Charles affections for both French and Catholic subjects. Danby was given
the position of treasurer following the forced resignation of Thomas Clifford in 1673. He
immediately tried to convince King Charles to reinstate a nationalistic line of politics, which had
proven beneficial for England from 166971. Danby and his ally Lauderdale attempted to shift
the Kings support from foreign to native advisors. They met in October 1674, for the first of
what would become a series of meetings with Anglican bishops to prepare for the Parliamentary
session in the spring of 1675. The religious leaders agreed with Danbys anti-Catholic
sentiments, stating that the laws against popery and dissent would prove satisfactory if they were
enforced. Danby then convinced a hesitant King Charles to both revoke the preaching licenses
given to dissenters in 1672 and more strictly reinforce the laws against Catholics. Dryden was
opposed to Danbys avid support for policies such as these, which severely limited the rights of
non-Protestants living in England. He was able to foresee the potentially negative impact that
such exclusionary policies may present for Danbys political career. Dryden therefore uses the
Dedication to advise Danby to adopt a more moderate viewpoint.
Despite his expected opposition, in 1676 Danby was made aware of a secret treaty between
Charles and Louis XIV. The document bound the two monarchs to convene for discussion before
either country could sign treaties with the States General of the Dutch Republic. Danby
attempted to nullify the treaty, despite having helped negotiate its conditions. However, while
trying to nullify the treaty, Danby was attempting to negotiate French bribes for himself. Despite
Danby's seemingly conflicted dealings with the French, in 1677 he became more aggressive in
his anti-French and anti-Catholic political stance. Danby felt his calls for war would win him the
support of the Opposition members of Parliament, increase Britain's commercial concessions
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from Spain and the Netherlands, and situate Charles as a renowned Protestant King, able to
salvage Europe from Catholic influences and King Louis. King Charles however began to grow
displeased with Danby's anti-French sentiments because they interfered with both his efforts to
increase sympathy for Catholics in England and his desire to collect French bribes.
With his Dedication, Dryden attempts to restore Danby and King Charles relationship. To
achieve this goal, Dryden uses biographical information about his patron to highlight the noble
aspects of Danby's career. In the Dedication, Dryden discusses how Danby managed to bring
order to the chaotic treasury department he inherited. While Dryden does celebrate Danby's
character strengths, he also uses the Dedication to offer Danby advice, demonstrating his own
authority at being able to advise the Lord Treasurer. For example, Dryden critiques Danby's habit
of conforming to the pressures of his inferiors and surrendering some of his political aspirations
in the name of bureaucracy.
The biographical information Dryden provides, not only serves to advise Danby, but also
accentuates his similarities to characters in All for Love. Danby was elected to office because of
his reputation for being an independent thinker, not easily swayed by the majority. However, by
the time Dryden composed the Dedication, Danby's only independent policies focused on efforts
to increase anti-Catholic and anti-French sentiments. Dryden offers a solution to Danby's
political struggles. He suggests that were Danby to assume a position between king and servant,
he would no longer be subjected to the conflict between independence and political duty. In other
words, Dryden recommends in the Dedication that Danby replicate the king's behaviour without
overstepping his authority, while maintaining a connection with the British subjects without
compromising his status. By advocating moderation, Dryden also effectually demonstrates his
support for King Charles policies of tolerance within government and the church, condemning
Danby's aggressive anti-French and anti-Catholic sentiments.] Dryden also portrays the benefits
of political moderation in the plot and character dynamic of his play All for Love. Within the
play, the more reasonable, moderate and compassionate character of Dollabella is ultimately a
more valuable advisor for Antony than the militant and aggressive Ventidius. Dryden combines
his own political philosophies with character portrayals and the plot line from his play All for
Love to provide his patron, the Lord Treasurer with advice.

10

Dryden alludes to the many correlations between Danby's personal life and the characters in All
for Love. However, the presence of a Cleopatra figure in Danby's life is noticeably absent from
the Dedication. In reality, at the time the Dedication was written Danby was carrying on an affair
with the duchess of Portsmouth, Louise de Kroualle who also happened to be FrenchCatholic Dryden strategically does not mention the duchess in the Dedication to avoid
highlighting the hypocrisy of Danby's staunch anti-Catholic and anti-French political position.
Despite Dryden's omission, several known historical facts demonstrate the similarities between
Danby and de Kroualle's relationship and the relationship of Antony and Cleopatra as portrayed
in Dryden's play All for Love. For example, from 1670 until he was impeached, Danby used his
position to procure money and jewels for de Kroualle. This illicit distribution of wealth is not
dissimilar from the exchange of goods that takes place between Antony and Cleopatra in All for
Love. Cleopatra presents Antony with various ornaments; such as the ruby bracelet she gives him
before he enters into battle. Cleopatra gives Antony these jewels in an effort to maintain his
affections and presence in Egypt. Danby also presents de Kroualle with gifts in an effort to
secure her as his mistress. In both the real world relationship between Danby and de Kroualle
and the relationship between Antony and Cleopatra in Dryden's All for Love, jewels are
exchanged in an attempt to bind clandestine affairs. Another parallel between the two
relationships is that in both affairs, the male figures attempt to use their love for political gains.
In All for Love, Antony attempts to use Cleopatra's Egyptian military to assist in his battle against
Caesar. Similarly it is known that Danby and Lauderdale used de Kroualle, and her influence as
one of Charles mistresses, to defeat their political opponent Shaftesbury and therefore remain
top advisors to the king. Though Dryden strove to disguise Danby's relationship with de
Kroualle in the Dedication to hide the hypocrisy of his relationship with a French-Catholic
woman, many satirists at the time were not so forgiving.
Dryden uses the Dedication to not only offer advice on political matters, but he also seems to
offer advice on how Danby should navigate his romantic relationship. In Dryden's play All for
Love, it is implied that Cleopatra's foreign country, religion and appearance all contribute to her
allure for Antony. Biographical information indicates that her foreign beauty is also what
attracted Danby to de Kroualle. Dryden implies that a more acceptable relationship for Danby
might resemble Dollabella's relationship with Cleopatra. Dollabella respects Cleopatra's beauty

11

and admits to his past love for her; however he is no longer actively pursuing her during the play,
stepping aside instead for Antony.

Conclusion
Love does not delight in evil. The verse characterizes evil as unrighteousness of heart and life. It
means that true love does not delight in someones misfortune or disgrace. You ever have those
moments where you hear, perhaps even second-hand, about someones misfortune and theres a
sick little enjoyment that you get out of it? No? Oh, me neither.
Loving well means taking no pleasure in someone elses difficulties. Further, love rejoices with
the truth. It is to be delighted when truth is spoken, even sometimes when the truth hurts.
Heres how this plays out at my house. Shelley is pretty meticulous, and manages life by files. I,
on the other hand, manage life by piles. I forget things, misplace things, and often my mistakes
will negatively impact her. She has become TREMENDOUSLY gracious about these things, yet
sometimes still gets pretty frustrated with me. When she gets this way, I feel stupid because Ive
made a mistake, and incompetent because I cant seem to stop making silly mistakes. Heres the
catch; every once in a while Shelley makes a silly mistake too. Minor things, you know, like
forgetting to pick up a neighbors 2 nd grader after school. Then Im faced with a choice. I can rub
it in and remind her that shes not perfect, so she shouldnt expect me to be perfect. Or I can
engage empathy and help her navigate the embarrassment and shame of her mistake. Pretty clear
at this point what Love does, right?

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