@article{oai:soar-ir.repo.nii.ac.jp:00017748,
 author = {北川,  重男},
 journal = {信州大学教養部紀要. 第一部, 人文科学},
 month = {Dec},
 note = {As Dryden himself says that wit is a propriety of thought and words, it means the problem of both author's consciousness and rhetoric. In his heroic plays, we can easily discern the inclination to the exaggerated style, freeflowing passages and overemphasis. Such is the case with All For Love. Nevertheless we also admit that author's consciousness which controls Antony's action and words, can be seen behind such inclination. The union of the consciousness of expansion with that of contraction in the characters, introduces the strange but central features of All For Love. In this respect Dryden is contrasted with Marlowe, whose hero in such playas Tumberlaine makes for the unrestrained emotional quality. Turbulent, over-excessive emotions of the antagonist bring forth Marlowe's drama something of which he is unconscious, but which is valuable in itself. The outflow of personality and individuality tells the coming of the new age. But Dryden's concentration, or, in other terms, the inclination from expansion to contraction, shows the fact that he is the last English Renaissance man of letters, and that he also is the father of English prose writer. Dryden's clear, simple and rational style never give an ambiguous impression on us, which is his unique achievement and contribution to us today., Article, 信州大学教養部紀要. 第一部, 人文科学 2: 77-90(1967)},
 pages = {77--90},
 title = {ウイットの作家ドライデン：「愛すればこそ」(All For Love) に関連して},
 volume = {2},
 year = {1967}
}