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The works of John Dryden, now first collected in eighteen volumes. Volume 02
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The works of John Dryden, now first collected in eighteen volumes. Volume 02

By John Dryden
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Table of Contents
  • CONTENTS OF VOLUME SECOND.
  • THE WORKS OF JOHN DRYDEN.
    • ADVERTISEMENT.
    • DEDICATION TO MR CONGREVE'S EDITION OF DRYDEN'S DRAMATIC WORKS.
    • THE WILD GALLANT, A COMEDY.
      • THE WILD GALLANT.
    • THE WILD GALLANT.
    • PREFACE.
    • PROLOGUE,
    • PROLOGUE,
      • DRAMATIS PERSONAE.
      • SCENE.—London.
      • THE WILD GALLANT.
        • SCENE II.
        • SCENE III.
      • SCENE II.
      • SCENE III.
      • ACT II. SCENE I.
        • SCENE II.
      • SCENE II.
      • ACT III. SCENE I.
        • SCENE II.
      • SCENE II.
      • ACT IV. SCENE I.
        • SCENE II.
        • SCENE III.
      • SCENE II.
      • SCENE III.
      • ACT V. SCENE I.
        • SCENE II.
        • SCENE III.
      • SCENE II.
      • SCENE III.
      • EPILOGUE,
      • EPILOGUE,
    • DRAMATIS PERSONAE.
    • SCENE.—London.
    • THE WILD GALLANT.
      • SCENE II.
      • SCENE III.
    • SCENE II.
    • SCENE III.
    • ACT II. SCENE I.
      • SCENE II.
    • SCENE II.
    • ACT III. SCENE I.
      • SCENE II.
    • SCENE II.
    • ACT IV. SCENE I.
      • SCENE II.
      • SCENE III.
    • SCENE II.
    • SCENE III.
    • ACT V. SCENE I.
      • SCENE II.
      • SCENE III.
    • SCENE II.
    • SCENE III.
    • EPILOGUE,
    • EPILOGUE,
    • THE RIVAL LADIES,
      • THE RIVAL LADIES.
      • THE RIGHT HONOURABLE ROGER, EARL OF ORRERY[1].
      • PROLOGUE
      • DRAMATIS PERSONAE
        • SCENE—Alicant.
      • SCENE—Alicant.
      • THE RIVAL LADIES.
      • SCENE II.
      • SCENE III.—The representation of a Street discovered by twilight.
      • ACT II.
      • ACT III.
      • ACT IV. SCENE I.
        • SCENE II.
        • SCENE III.—Through a rock is discovered a navy of ships riding at a distance.
      • SCENE II.
      • SCENE III.—Through a rock is discovered a navy of ships riding at a distance.
      • ACT V. SCENE I.
      • SCENE II.
        • SCENE III.
      • SCENE III.
    • THE RIVAL LADIES.
    • THE RIGHT HONOURABLE ROGER, EARL OF ORRERY[1].
    • PROLOGUE
    • DRAMATIS PERSONAE
      • SCENE—Alicant.
    • SCENE—Alicant.
    • THE RIVAL LADIES.
    • SCENE II.
    • SCENE III.—The representation of a Street discovered by twilight.
    • ACT II.
    • ACT III.
    • ACT IV. SCENE I.
      • SCENE II.
      • SCENE III.—Through a rock is discovered a navy of ships riding at a distance.
    • SCENE II.
    • SCENE III.—Through a rock is discovered a navy of ships riding at a distance.
    • ACT V. SCENE I.
    • SCENE II.
      • SCENE III.
    • SCENE III.
    • THE INDIAN QUEEN, A TRAGEDY,
      • WRITTEN BY THE HON. SIR ROBERT HOWARD, AND MR DRYDEN.
      • THE INDIAN QUEEN
      • DRAMATIS PERSONAE
      • THE INDIAN QUEEN.
        • ACT I. SCENE I.
        • SCENE II.—Mexico.
      • ACT I. SCENE I.
      • SCENE II.—Mexico.
      • ACT II. SCENE I.
        • SCENE II.
      • SCENE II.
      • ACT III. SCENE I.
        • SCENE II.
      • SCENE II.
      • ACT IV.
        • SCENE II.
      • SCENE II.
      • ACT V. SCENE I.
        • SONG.
        • EPILOGUE.
      • SONG.
      • EPILOGUE.
    • WRITTEN BY THE HON. SIR ROBERT HOWARD, AND MR DRYDEN.
    • THE INDIAN QUEEN
    • DRAMATIS PERSONAE
    • THE INDIAN QUEEN.
      • ACT I. SCENE I.
      • SCENE II.—Mexico.
    • ACT I. SCENE I.
    • SCENE II.—Mexico.
    • ACT II. SCENE I.
      • SCENE II.
    • SCENE II.
    • ACT III. SCENE I.
      • SCENE II.
    • SCENE II.
    • ACT IV.
      • SCENE II.
    • SCENE II.
    • ACT V. SCENE I.
      • SONG.
      • EPILOGUE.
    • SONG.
    • EPILOGUE.
    • THE INDIAN EMPEROR OR, THE CONQUEST OF MEXICO BY THE SPANIARDS.
      • TO THE MOST EXCELLENT AND MOST ILLUSTRIOUS PRINCESS, ANNE, DUCHESS OF MONMOUTH AND BUCCLEUCH, WIFE TO THE MOST ILLUSTRIOUS AND HIGH-BORN PRINCE, JAMES, DUKE OF MONMOUTH[A].
      • A DEFENCE OF AN ESSAY OF DRAMATIC POESY; BEING AN ANSWER TO THE PREFACE OF THE GREAT FAVOURITE, OR THE DUKE OF LERMA.
      • THE INDIAN EMPEROR.
      • CONNECTION OF THE INDIAN EMPEROR TO THE INDIAN QUEEN [A].
      • PROLOGUE
      • DRAMATIS PERSONAE.
        • INDIAN MEN.
        • SCENE—Mexico, and two leagues about it.
      • INDIAN MEN.
      • SCENE—Mexico, and two leagues about it.
      • THE INDIAN EMPEROR.
        • ACT I.
        • SCENE II.—A Temple.
      • ACT I.
      • SCENE II.—A Temple.
      • ACT II.
        • SCENE II.
        • SCENE III.—Changes to the Indian country.
        • SCENE IV.
      • SCENE II.
      • SCENE III.—Changes to the Indian country.
      • SCENE IV.
      • ACT III.
        • SCENE II.—A Camp.
        • SCENE III.
        • SCENE IV.—Mexico.
      • SCENE II.—A Camp.
      • SCENE III.
      • SCENE IV.—Mexico.
      • ACT IV.
        • SCENE II.—Chamber-royal.
        • SCENE III.
        • SONG.
        • SCENE IV.—A Prison.
      • SCENE II.—Chamber-royal.
      • SCENE III.
      • SONG.
      • SCENE IV.—A Prison.
      • ACT V.
        • SCENE II.—A Prison.
      • SCENE II.—A Prison.
      • EPILOGUE
    • TO THE MOST EXCELLENT AND MOST ILLUSTRIOUS PRINCESS, ANNE, DUCHESS OF MONMOUTH AND BUCCLEUCH, WIFE TO THE MOST ILLUSTRIOUS AND HIGH-BORN PRINCE, JAMES, DUKE OF MONMOUTH[A].
    • A DEFENCE OF AN ESSAY OF DRAMATIC POESY; BEING AN ANSWER TO THE PREFACE OF THE GREAT FAVOURITE, OR THE DUKE OF LERMA.
    • THE INDIAN EMPEROR.
    • CONNECTION OF THE INDIAN EMPEROR TO THE INDIAN QUEEN [A].
    • PROLOGUE
    • DRAMATIS PERSONAE.
      • INDIAN MEN.
      • SCENE—Mexico, and two leagues about it.
    • INDIAN MEN.
    • SCENE—Mexico, and two leagues about it.
    • THE INDIAN EMPEROR.
      • ACT I.
      • SCENE II.—A Temple.
    • ACT I.
    • SCENE II.—A Temple.
    • ACT II.
      • SCENE II.
      • SCENE III.—Changes to the Indian country.
      • SCENE IV.
    • SCENE II.
    • SCENE III.—Changes to the Indian country.
    • SCENE IV.
    • ACT III.
      • SCENE II.—A Camp.
      • SCENE III.
      • SCENE IV.—Mexico.
    • SCENE II.—A Camp.
    • SCENE III.
    • SCENE IV.—Mexico.
    • ACT IV.
      • SCENE II.—Chamber-royal.
      • SCENE III.
      • SONG.
      • SCENE IV.—A Prison.
    • SCENE II.—Chamber-royal.
    • SCENE III.
    • SONG.
    • SCENE IV.—A Prison.
    • ACT V.
      • SCENE II.—A Prison.
    • SCENE II.—A Prison.
    • EPILOGUE
  • SECRET LOVE; OR, THE MAIDEN QUEEN.
    • THE MAIDEN QUEEN
      • PREFACE
      • PROLOGUE.
        • I.
      • I.
      • SECOND PROLOGUE.
      • DRAMATIS PERSONAE
        • SCENE—Sicily.
      • SCENE—Sicily.
      • SECRET LOVE OR THE MAIDEN QUEEN.
        • SCENE II.
        • SCENE III.
      • SCENE II.
      • SCENE III.
      • ACT II.
      • ACT III.
      • ACT IV.
        • SCENE II.—The Queen's apartments.
        • ACT V.
      • SCENE II.—The Queen's apartments.
      • ACT V.
      • EPILOGUE, WRITTEN BY A PERSON OF HONOUR.
      • PROLOGUE,
      • EPILOGUE,
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    • PREFACE
    • PROLOGUE.
      • I.
    • I.
    • SECOND PROLOGUE.
    • DRAMATIS PERSONAE
      • SCENE—Sicily.
    • SCENE—Sicily.
    • SECRET LOVE OR THE MAIDEN QUEEN.
      • SCENE II.
      • SCENE III.
    • SCENE II.
    • SCENE III.
    • ACT II.
    • ACT III.
    • ACT IV.
      • SCENE II.—The Queen's apartments.
      • ACT V.
    • SCENE II.—The Queen's apartments.
    • ACT V.
    • EPILOGUE, WRITTEN BY A PERSON OF HONOUR.
    • PROLOGUE,
    • EPILOGUE,
    • *** START: FULL LICENSE ***
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