Aureng-Zebe: A Tragedy

Aureng-Zebe by John Dryden

A TRAGEDY.

—Sed, cum fregit subsellia versu,

Esurit, intactam Paridi nisi vendat Agaven.

JUV.

John Dryden was born on August 9th, 1631 in the village rectory of Aldwincle near Thrapston in Northamptonshire. As a boy Dryden lived in the nearby village of Titchmarsh, Northamptonshire. In 1644 he was sent to Westminster School as a King's Scholar.

Dryden obtained his BA in 1654, graduating top of the list for Trinity College, Cambridge that year.

Returning to London during The Protectorate, Dryden now obtained work with Cromwell's Secretary of State, John Thurloe.

At Cromwell's funeral on 23 November 1658 Dryden was in the company of the Puritan poets John Milton and Andrew Marvell.  The setting was to be a sea change in English history. From Republic to Monarchy and from one set of lauded poets to what would soon become the Age of Dryden.

The start began later that year when Dryden published the first of his great poems, Heroic Stanzas (1658), a eulogy on Cromwell's death.

With the Restoration of the Monarchy in 1660 Dryden celebrated in verse with Astraea Redux, an authentic royalist panegyric.

With the re-opening of the theatres after the Puritan ban, Dryden began to also write plays. His first play, The Wild Gallant, appeared in 1663 but was not successful. From 1668 on he was contracted to produce three plays a year for the King's Company, in which he became a shareholder. During the 1660s and '70s, theatrical writing was his main source of income.

In 1667, he published Annus Mirabilis, a lengthy historical poem which described the English defeat of the Dutch naval fleet and the Great Fire of London in 1666. It established him as the pre-eminent poet of his generation, and was crucial in his attaining the posts of Poet Laureate (1668) and then historiographer royal (1670).

This was truly the Age of Dryden, he was the foremost English Literary figure in Poetry, Plays, translations and other forms.

In 1694 he began work on what would be his most ambitious and defining work as translator, The Works of Virgil (1697), which was published by subscription. It was a national event.

John Dryden died on May 12th, 1700, and was initially buried in St. Anne's cemetery in Soho, before being exhumed and reburied in Westminster Abbey ten days later.

Index of Contents

AURENG-ZEBE. AN INTRODUCTION

TO THE RIGHT HONOURABLE JOHN, EARL OF MULGRAVE, GENTLEMAN OF HIS MAJESTY'S BED-CHAMBER, AND KNIGHT OF THE MOST NOBLE ORDER OF THE GARTER PROLOGUE

DRAMATIS PERSONÆ

SCENE—Agra, in the year 1660.

AURENG-ZEBE.

ACT I

SCENE I

ACT II

SCENE I

ACT III

SCENE I

ACT IV

SCENE I

ACT V

SCENE I

EPILOGUE

John Dryden – A Short Biography

John Dryden – A Concise Bibliography

AURENG-ZEBE. AN INTRODUCTION

Aureng-Zebe, or the Ornament of the Throne, for such is the interpretation of his name, was the last descendant of Timur, who enjoyed the plenitude of authority originally vested in the Emperor of India. His father, Sha-Jehan, had four sons, to each of whom he delegated the command of a province. Dara-Sha, the eldest, superintended the district of Delhi, and remained near his father's person; Sultan-Sujah was governor of Bengal, Aureng-Zebe of the Decan, and Morat Bakshi of Guzerat. It happened, that Sha-Jehan being exhausted by the excesses of the Haram, a report of his death became current in the provinces, and proved the signal for insurrection and discord among his children. Morat Bakshi possessed himself of Surat, after a long siege, and Sultan-Sujah, having declared himself independent in Bengal, advanced as far as Lahor, with a large army. Dara-Sha, the legitimate successor of the crown, was the only son of Sha-Jehan, who preferred filial duty to the prospect of aggrandisement. He dispatched an army against Sultan-Sujah, checked his progress, and compelled him to retreat. But Aureng-Zebe, the third and most wily of the brethren, had united his forces to those of Morat Bakshi, and advancing against Dara-Sha, totally defeated him, and dissipated his army. Aureng-Zebe availed himself of the military reputation and treasures, acquired by his success, to seduce the forces of Morat Bakshi, whom he had pretended to assist, and, seizing upon his person at a banquet, imprisoned him in a strong fortress. Meanwhile, he advanced towards Agra, where his father had sought refuge, still affecting to believe that the old emperor was dead. The more pains Sha-Jehan took to contradict this report, the more obstinate was Aureng-Zebe in refusing to believe that he was still alive. And, although the emperor dispatched his most confidential servants to assure his dutiful son that he was yet in being, the incredulity of Aureng-Zebe could only be removed by a personal interview, the issue of which was Sha-Jehan's imprisonment and speedy death. During these transactions Dara-Sha, who, after his defeat, had fled with his treasures to Lahor, again assembled an army, and advanced against the conqueror; but, being deserted by his allies, defeated by Aureng-Zebe, and betrayed by an Omrah, whom he trusted in his flight, he was delivered up to his brother, and by his command assassinated. Aureng-Zebe now assumed the throne, and advanced against Sultan-Sujah, his sole remaining brother; he seduced his chief commanders, routed the forces who remained faithful, and drove him out of Bengal into the Pagan countries adjacent, where, after several adventures, he perished miserably in the mountains. Aureng-Zebe also murdered one or two nephews, and a few other near relations; but, in expiation of his complicated crimes, renounced the use of flesh, fish, and wine, living only upon barley-bread vegetables, and confections, although scrupling no excesses by which he could extend and strengthen his usurped power[1].

Dr Johnson has supposed, that, in assuming for his subject a living prince, Dryden incurred some risque; as, should Aureng-Zebe have learned and resented the freedom, our Indian trade was exposed to the consequences of his displeasure. It may, however, be safely doubted, whether a monarch, who had actually performed the achievements above narrated, would have been scandalized by those imputed to him in the text. In other respects, the distance and obscurity of the events gave a poet the same authority over them, as if they had occurred in the annals of past ages; a circumstance in which Dryden's age widely differed from ours, when so much has our intimacy increased with the Oriental world, that the transactions of Delhi are almost as familiar to us as those of Paris.

The tragedy of Aureng-Zebe is introduced by the poet's declaration in the prologue, that his taste for heroic plays was now upon the wane:

But he has now another taste of wit;

And, to confess a truth, though out of time,

Grows weary of his long-loved mistress, Rhyme.

Passion's too fierce to be in fetters bound,

And nature flies him, like enchanted ground,

What verse can do, he has performed in this,

Which he presumes the most correct of his.

Agreeably to what might be expected from this declaration, the verse used in Aureng-Zebe is of that kind which may be most easily applied to the purposes of ordinary dialogue. There is much less of ornate structure and emphatic swell, than occurs in the speeches of Almanzor and Maximin; and Dryden, though late, seems to have at length discovered, that the language of true passion is inconsistent with that regular modulation, to maintain which, the actor must mouth each couplet in a sort of recitative. The ease of the verse in Aureng-Zebe, although managed with infinite address, did not escape censure. In the just remonstrance of affronted That, transmitted to the Spectator, the offended conjunction is made to plead, What great advantage was I of to Mr Dryden, in his Indian Emperor?"

You force me still to answer you in that,

To furnish out a rhime to Morat.

And what a poor figure would Mr Bayes have made, without his Egad, and all that? But, by means of this easy flow of versification in which the rhime is sometimes almost lost by the pause being transferred to the middle of the line, Dryden, in some measure indemnified himself for his confinement, and, at least, muffled the clank of his fetters. Still, however, neither the kind of verse, nor perhaps the poet, himself, were formed for expressing rapid and ardent dialogue; and the beauties of Aureng-Zebe" will be found chiefly to consist in strains of didactic morality, or solemn meditation. The passage, descriptive of life, has been distinguished by all the critics, down to Dr Johnson:

AURENG-ZEBE

When I consider life, 'tis all a cheat;

Yet, fooled with hope, men favour the deceit;

Trust on, and think to-morrow will repay:

To-morrow's falser than the former day;

Lies worse; and, while it says, We shall be blest

With some new joys, cuts off what we possest.

Strange cozenage! none would live past years again,

Yet all hope pleasure in what yet remain;

And from the dregs of life think to receive

What the first sprightly running could not give.

I'm tired with waiting for this chemic gold,

Which fools us young, and beggars us when old.

Nor is the answer of Nourmahal inferior in beauty:

NOURMAHAL

'Tis not for nothing that we life pursue;

It pays our hopes with something still that's new;

Each day's a mistress, unenjoyed before;

Like travellers, we're pleased with seeing more.

Did you but know what joys your way attend,

You would not hurry to your journey's end.

It might be difficult to point out a passage in English poetry, in which so common and melancholy a truth is expressed in such beautiful verse, varied with such just illustration. The declamation on virtue, also, has great merit, though, perhaps, not equal to that on the vanity of life:

AURENG-ZEBE

How vain is virtue, which directs our ways

Through certain danger to uncertain praise!

Barren, and airy name! thee fortune flies,

With thy lean train, the pious and the wise.

Heaven takes thee at thy word, without regard;

And let's thee poorly be thy own reward.

The world is made for the bold impious man,

Who stops at nothing, seizes all he can.

Justice to merit does weak