Absalom and Achitophel

“To His Sacred Majesty” by John Dryden (1661)

Although he had written a poem about Cromwell’s death in 1659, Dryden chose to openly break with his family’s religious and political beliefs by welcoming the Restoration of the Stuart monarchy in 1660. His poem “To His Sacred Majesty” celebrates the coronation of King Charles II and hails the king as a bringer of peace and prosperity. The poem is written in Dryden’s trademark heroic couplets, and it offers a portrait of idealized monarchy.

“Paradise Lost” by John Milton (1667)

While Dryden welcomed the Restoration era of King Charles II and used his writing to extol the virtues of monarchical rule, his contemporary John Milton remained a staunch Puritan and an advocate for a commonwealth. Milton’s most famous work, “Paradise Lost”, is an epic narrative poem that also uses biblical allegory to explore the pressing political issues of the time. In retelling the story of Satan’s rebellion against God and Adam and Eve’s fall from grace, Milton explores the question of legitimate versus illegitimate power and the nature of revolt. Milton’s narrative style uses blank verse, not heroic couplets, and the tone of his work is serious instead of satirical. Reading “Paradise Lost” therefore offers an interesting ideological and literary contrast to Dryden’s work while also providing readers with more insight into Dryden’s literary climate.

“The Medall: A Satire Against Sedition“ by John Dryden (1682)

The Earl of Shaftesbury was arrested on charges of high treason for his role in the Exclusion Crisis, but he was acquitted in 1682. Needless to say, Dryden vehemently disagreed with the verdict. “The Medall” offers a response to the Shaftesbury proceedings through another poetic diatribe in heroic couplets, denouncing the Whig party and all those who would seek to undermine the king. “The Medall” can thus be considered a sequel to “Absalom and Achitophel”, giving further insight into Dryden’s political beliefs and his characteristic satirical poetic style.