Dryden may refer to:

People[link]

• Dave Dryden, retired Canadian ice hockey goaltender
• David Owen Dryden, renowned San Diego builder-architect
• Erasmus Dryden (disambiguation)
• Helen Dryden, American artist and designer
• Hugh L. Dryden, NASA Deputy Director
• James Dryden, New Zealand wrestler
• John Dryden (1631-1700), English poet
• John C. Dryden, politician in Manitoba, Canada
• John F. Dryden (1839-1911), businessman and United States Senator from New Jersey, founder of the Prudential Insurance Co. of America (now Prudential Financial)
• Ken Dryden, Canadian hockey player and politician
• Murray Dryden, Canadian philanthropist
• Nicole Dryden, two-time Olympic swimmer from Canada
• Richard Dryden, English former professional footballer and former manager of Worcester City F.C.
• Spencer Dryden, American musician who was best known as the drummer for Jefferson Airplane, New Riders of the Purple Sage and The Dinosaurs
• Wheeler Dryden, English actor and film director, father of rock musician Spencer Dryden (above), and half brother of Charlie Chaplin

Fictional

• Dryden, a henchman in the 2006 film Casino Royale
• Mr. Dryden, a character in the film Lawrence of Arabia
• Dryden Fassa, a supporting character in the 1996 anime series The Vision of Escaflowne

Places[link]

In Canada:

• Dryden, Ontario

In the United States:

• Dryden, Michigan
• Dryden Township, Michigan
• Dryden (town), New York
  • Dryden (village), New York
• Dryden, Oregon
• Dryden, Texas
• Dryden, Virginia
• Dryden, Washington
• Dryden Flight Research Center, NASA installation in California

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Ken Dryden
Born	(1947-08-08) August 8, 1947 (age 64) Hamilton, ON, CAN
Height	6 ft 4 in (1.93 m)
Weight	207 lb (94 kg; 14 st 11 lb)
Position	Goaltender
Caught	Left
Played for	AHL Montreal Voyageurs NHL Montreal Canadiens
National team	Canada
NHL Draft	14th overall, 1964 Boston Bruins
Playing career	1970–1979
Hall of Fame, 1983

Kenneth Wayne Dryden, PC, (born August 8, 1947) is a Canadian politician, lawyer, businessman, author, and former NHL goaltender. He is a member of the Hockey Hall of Fame. Dryden was a Liberal Member of Parliament from 2004 until losing his seat in the 2011 Canadian federal elections to Conservative Mark Adler.

Early life and hockey career[link]

Dryden was born in Hamilton, Ontario,^[1] the son of Murray and Margaret Dryden and brother of Dave Dryden, also an NHL goaltender. Dryden was raised in Islington (then just outside Toronto) and drafted fourteenth overall by the Boston Bruins in the 1964 NHL Amateur Draft. Later the same day, Boston traded Dryden to the Montreal Canadiens, along with Alex Campbell, for Paul Reid and Guy Allen, whom the Bruins highly valued. Dryden was informed by his agent that he had been drafted by the Canadiens, and did not find out until the mid-1970s that he had originally been a Bruin.^[2]

Rather than play in Montreal, Dryden pursued a Bachelor of Arts degree at Cornell University, where he also played hockey until his graduation in 1969. He backstopped the Cornell Big Red to the 1967 National Collegiate Athletic Association championship and to three consecutive ECAC tournament championships under coach Ned Harkness, winning 76 of his 81 varsity starts.^[3] He also was a member of the Canadian amateur national team at the 1969 Ice Hockey World Championship tournament in Stockholm.

Dryden made his NHL debut in 1971 for the Canadiens, playing only six regular-season games after a late-season call-up but sporting a minuscule 1.65 goals-against average. This earned him the number 1 goalie job for the playoffs ahead of veteran All-Star Rogie Vachon, and the Canadiens rode their hot young goalie to win the Stanley Cup. He then became the backbone of 5 more Stanley Cup-winning teams in 1973, 1976, 1977, 1978, and 1979. During that first playoff season, Dryden won the Conn Smythe Trophy (1971), as the playoffs' most valuable player. The following year Dryden won the Calder Trophy, 1972, as the Rookie of the year because the previous year he did not play enough regular season games to become eligible. He remains the only NHL player to ever win the Conn Smythe Trophy before winning the rookie of the year award. In the autumn of 1972 Dryden played for Team Canada in the 1972 Summit Series against the Soviet national ice hockey team.

Dryden played from 1971 to 1979, except for the 1973–74 season, when he was unhappy about the contract that the Canadiens offered him, which he considered less than his market worth, given that he had won the Stanley Cup and Vezina Trophy. He skipped training camp and held out that season, incurring the wrath of Canadiens General Manager Sam Pollock whose previous stars had usually signed for the amount that he had offered. The Canadiens still had a good season, going 45-24-9, but lost in the first round of the playoffs to the New York Rangers in six games. The Canadiens allowed 56 more goals in the 1973–74 season than they had the year before with Dryden.^[4] Dryden used that year to fulfill the requirements for his law degree at McGill and article for a law firm. He retired following the 1978-79 season at age 31.

Compared to most other goaltending greats (and Hockey Hall of Fame players), Dryden's NHL career was extremely short: just over seven full seasons. Therefore, statistically he did not amass record totals in most categories. As he played all his years with a dynasty and retired before he could pass his prime, his statistical percentages are unparalleled. His regular season totals include a .790 winning percentage, a 2.24 goals against average, and, most incredibly, winning 258 games and losing only 57 games while recording 46 shutouts in just 397 NHL games. No other modern goaltender has ever been even remotely close to earning nearly as many shutouts as recording losing games. He won the Vezina Trophy five times for allowing the fewest goals and in the same years was selected as a First Team All-Star. Despite the comparative brevity of his career, in 1998, he was ranked number 25 on The Hockey News' list of the 100 Greatest Hockey Players.

Dryden was so tall, at 6 foot 4 inches (193 cm), that he was often seen during stoppages in play in what became his trademark pose: resting with his blocker propped up by his goalie stick which was angled to its maximum possible height. One of his nicknames was the "four-story goalie".

Dryden was inducted into the Hockey Hall of Fame in 1983. His #29 was retired by the Canadiens on January 29, 2007, and his #1 which he wore while playing for the Cornell Big Red was retired on February 25, 2010, making him one of only two players to have his number retired by Cornell's hockey program (the other player, Joe Nieuwendyk, had his number retired with Dryden).^[5]

Education[link]

Dryden earned a Bachelor of Arts degree in history at Cornell University's Department of History and a degree in Law at McGill University. He has received honorary doctoral degrees from the University of Ottawa, University of Windsor, York University, McMaster University, Saint Mary’s University, Niagara University and University of British Columbia. At Cornell, he was a member of the Sigma Phi Society and vice-president of the Quill and Dagger society.

Writing career[link]

Dryden wrote one book during his hockey career: Face-Off at the Summit. This was written in diary form and outlined the Canadian experience in the famous Canada vs. Soviet Union series of 1972. The book has been out of print for many years. It is a fairly standard account, unlike The Game which frequently digresses into non-hockey related information.

After retiring from hockey Dryden wrote several more books. His book The Game (1983) was a commercial and critical success, being nominated for a Governor General's Award. His next book, Home Game: Hockey and Life in Canada (1990), written with Roy MacGregor, was developed into an award-winning Canadian Broadcasting Corporation six-part documentary series for television. His fourth book was The moved and the shaken: The story of one man's life (1993). His fifth book, In School: Our Kids, Our Teachers, Our Classrooms (1995), written with Roy MacGregor, was about Canada’s education system. Becoming Canada (2010) argued for a new definition of Canada and its unique place in the world.

Commentator[link]

He served as Ontario's first Youth Commissioner from 1984 to 1986. Dryden worked as a television hockey commentator at the 1980, 1984 and 1988 Winter Olympics. Dryden served as a colour commentator alongside play-by-play man Al Michaels for the American Broadcasting Company's coverage of the famous Miracle on Ice. Just seconds before Mike Eruzione's game winning goal for the USA, Dryden expressed his concern that the U.S. was "relying a little too much on [goaltender] Jim Craig" after Craig had just made a series of great saves.

Executive[link]

Minority owner Larry Tanenbaum hired Dryden to become the president of the Toronto Maple Leafs hockey club in 1997. Pat Quinn became head coach in 1998, and the two men reportedly had a frosty relationship. A few months after joining the Leafs, Quinn took on the General Manager position, reportedly to preempt Dryden from hiring his preferred GM which was former Habs teammate Bob Gainey.^[4]

On August 29, 2003, with the hiring of John Ferguson, Jr. as GM, there was a major management shakeup. Majority owner Steve Stavro was bought out by the Ontario Teachers' Pension Plan and he stepped down as chairman in favour of Larry Tanenbaum. Quinn continued as head coach but was relieved of GM duties. Dryden's position was abolished, in favour of having both the Leafs and Raptors managers reporting directly to MLSE President and CEO Richard Peddie. Dryden was shuffled to the less important role of vice-chairman and given a spot on MLSE's board of directors, which was described by commentators as "sitting outside the loop" as he did not report directly to Leafs ownership.^[4][6] He stayed on until 2004 when he resigned to enter politics.

Political career[link]

Dryden joined the Liberal Party of Canada and ran for the House of Commons in the federal election held in June 2004. Dryden had been selected by Prime Minister Paul Martin as a "star candidate" in what is considered a safe Liberal riding. Earlier, on May 13, 2004, incumbent Art Eggleton announced that he would not run for re-election, paving the way for Dryden to contest the Toronto riding of York Centre. Eggleton, who was later appointed to the Senate, denied that the party asked him to step aside.^[7]

While campaigning, a letter sent to Dryden by Ya'acov Brosh, Consul-General of Israel in Toronto was put in Dryden's campaign literature, allegedly without Brosh's permission.^[8] Brosh worried that the letter would be misconstrued as political interference. The Consul-General did give permission to "circulate" the letter but insisted that it was not intended to be any kind of endorsement. The letter was sent to Dryden thanking him for his participation in a ceremony commemorating the 10th anniversary of the assassination of former Israel Prime Minister Yitzhak Rabin.

Dryden was elected to Parliament and was named to Cabinet as Minister of Social Development. He made headlines on February 16, 2005, as the target of a remark by Conservative Member of Parliament Rona Ambrose who said about Dryden, "working women want to make their own choices, we don't need old white guys telling us what to do." Dryden won generally favourable reviews for his performance in Cabinet.

On November 5, 2005, Dryden as Minister of Social Development obtained early-learning and child care deals with all 10 provinces.^[9] He was re-elected in the 2006 federal election. The Liberals were defeated and Paul Martin resigned the party leadership. Interim party and opposition leader Bill Graham named Dryden to his shadow cabinet as health critic. Dryden lost his seat in the 2011 Canadian federal elections to Mark Adler.

Leadership bid[link]

On April 28, 2006, Dryden confirmed rumours^[10] that he would run for the leadership of the Liberal Party of Canada, which would be choosing a successor to Paul Martin at a convention in Montreal on December 2, 2006. A variety of media pundits criticized Dryden's ponderous speaking style and limited French. Supporters argued that few people were strongly opposed to him and that if he ran he could attract more support on later ballots as a consensus candidate.

A poll^[11] found that Dryden's potential pool of support exceeded that of his opponents, due mainly to his former NHL career. However, his fundraising efforts left him well behind the top tier of leadership contenders (Michael Ignatieff, Gerard Kennedy, Stéphane Dion and Bob Rae). Despite initially being a very high profile candidate for leadership, his organizational efforts were disappointing, placing him in the bottom rank of remaining candidates. After gaining less than 5% of first round ballots for the Liberal leadership, Dryden was one of the "bottom four" candidates that had been written off by the media as unlikely to win the Liberal leadership.

In an interview with the Toronto Star on November 13, 2006, Dryden expressed concern that United States Democratic National Committee chairman Howard Dean should not be speaking at the Liberal Party of Canada's national convention in Montreal on November 29 out of fear that a foreigner would put the party out of touch with most Canadians.^[12]

Dryden came in 5th place on the first ballot with 238 delegates 4.9% of the vote. On the second ballot, he came in last place with 219 votes (4.7%) and was eliminated. He initially threw his support to Bob Rae, but after Rae was eliminated in the third ballot and released all of his delegates, Dryden went over to Stéphane Dion, who went on to win the leadership.

Personal life[link]

Dryden and his wife Lynda have two children and four grandchildren.^[13]

Bibliography[link]

Non-fiction[link]

• Face-Off at the Summit (1973)
• The Game (1983)
• Home Game: Hockey and Life in Canada (with Roy MacGregor, 1990)
• In School: Our Kids, Our Teachers, Our Classrooms (with Roy MacGregor, 1995)
• The Moved and the Shaken (1993)
• Becoming Canada (2010)

Awards and achievements[link]

• Conn Smythe Trophy winner in 1971.
• Calder Memorial Trophy winner in 1972.
• Vezina Trophy winner in 1973, 1976, 1977*, 1978*, 1979*.
• Stanley Cup champion in 1971, 1973, 1976, 1977, 1978, 1979.
• Played in 1972, 1975, 1976, 1977, 1978 NHL All-Star Games.
• Selected to NHL First All-Star Team in 1973, 1976, 1977, 1978, 1979.
• Selected to NHL Second All-Star Team in 1972.
• Inducted into the Hockey Hall of Fame in 1983.
• In 1998, he was ranked number 25 on The Hockey News' list of the 100 Greatest Hockey Players.
• His number 29 was retired by the Montreal Canadiens on January 29, 2007.
• His number 1 was retired by the Cornell Big Red on February 25, 2010 making him one of only two players to have his number retired by the Cornell hockey program, the other being Joe Nieuwendyk.

* Shared with Michel Larocque.

Career statistics[link]

Regular season[link]

Playoffs[link]

International[link]

References[link]

External links[link]

Wikinews has related news: Liberal leadership hopeful Ken Dryden outlines vision for Canada

• Ken Dryden's biography at Legends of Hockey
• Ken Dryden's career stats at The Internet Hockey Database
• Ken Dryden's homepage
• Ken Dryden at the Internet Movie Database
• How'd They Vote?: Ken Dryden's voting history and quotes
• Ken Dryden - Parliament of Canada biography

v t e Ministers of Labour Ministers of Labour (1900-1996) Mulock Aylesworth Lemieux1 W.L.M. King Crothers Robertson Murdock J.H. King (acting) Elliott Manion (acting) Jones Heenan Robertson Gordon Rogers McLarty Mitchell Martin (acting) Gregg Starr MacEachen Nicholson Pépin Mackasey O'Connell Munro Ouellet (acting) O'Connell Alexander Regan Caccia Ouellet McKnight Cadieux Corbeil Danis Valcourt Axworthy Robillard Ministers of Human Resources Development (1996-2005)2 Young Pettigrew Stewart Frulla Dryden Ministers of Human Resources and Skills Development (2005-) Stronach Finley Solberg Finley Ministers of Labour (1996-) Robillard Gagliano MacAulay Bradshaw Fontana3 Blackburn Ambrose Raitt 1Until 1909, the office of the minister of Labour was a secondary function of the Postmaster-General of Canada. W.L.M. King was the first to hold the office independently. 2The office of Minister of Employment and Immigration, and Minister of Labour were abolished and the office of Minister of Human Resources Development went in force on July 12, 1996. Under the new provisions, a Minister of Labour may be appointed. However, when no Minister of Labour is appointed, the Minister of Human Resources Development shall exercise the powers and perform the duties and functions of the Minister of Labour. 3Styled "Minister of Labour and Housing".

John Dryden
Born	(1631-08-09)9 August 1631 Aldwincle, Thrapston, Northamptonshire, England
Died	1 May 1700(1700-05-01) (aged 68) London, England
Occupation	poet, literary critic, playwright
Alma mater	Cambridge University
Notable work(s)	Absalom and Achitophel, MacFlecknoe

John Dryden (9 August 1631 – 1 May 1700) was an influential English poet, literary critic, translator, and playwright who dominated the literary life of Restoration England to such a point that the period came to be known in literary circles as the Age of Dryden. Walter Scott called him "Glorious John."^[1] He was made Poet Laureate in 1668.

Early life[link]

Dryden was born in the village rectory of Aldwincle near Thrapston in Northamptonshire, where his maternal grandfather was Rector of All Saints. He was the eldest of fourteen children born to Erasmus Dryden and wife Mary Pickering, paternal grandson of Sir Erasmus Dryden, 1st Baronet (1553–1632) and wife Frances Wilkes, Puritan landowning gentry who supported the Puritan cause and Parliament. He was also a second cousin once removed of Jonathan Swift. As a boy Dryden lived in the nearby village of Titchmarsh, Northamptonshire where it is also likely that he received his first education. In 1644 he was sent to Westminster School as a King’s Scholar where his headmaster was Dr Richard Busby, a charismatic teacher and severe disciplinarian.^[2] Having recently been re-founded by Elizabeth I, Westminster during this period embraced a very different religious and political spirit encouraging royalism and high Anglicanism. Whatever Dryden’s response to this was, he clearly respected the Headmaster and would later send two of his own sons to school at Westminster. In the late twentieth century a house at Westminster was founded in his name.

As a humanist public school, Westminster maintained a curriculum which trained pupils in the art of rhetoric and the presentation of arguments for both sides of a given issue. This is a skill which would remain with Dryden and influence his later writing and thinking, as much of it displays these dialectical patterns. The Westminster curriculum also included weekly translation assignments which developed Dryden’s capacity for assimilation. This was also to be exhibited in his later works. His years at Westminster were not uneventful, and his first published poem, an elegy with a strong royalist feel on the death of his schoolmate Henry, Lord Hastings from smallpox, alludes to the execution of King Charles I, which took place on 30 January 1649, very near the school where Dr Busby had first prayed for the King and then locked in his schoolboys to prevent their attending the spectacle.

In 1650 Dryden went up to Trinity College, Cambridge.^[3] Here he would have experienced a return to the religious and political ethos of his childhood: the Master of Trinity was a Puritan preacher by the name of Thomas Hill who had been a rector in Dryden’s home village.^[4] Though there is little specific information on Dryden’s undergraduate years, he would most certainly have followed the standard curriculum of classics, rhetoric, and mathematics. In 1654 he obtained his BA, graduating top of the list for Trinity that year. In June of the same year Dryden’s father died, leaving him some land which generated a little income, but not enough to live on.^[5]

Returning to London during The Protectorate, Dryden obtained work with Cromwell’s Secretary of State, John Thurloe. This appointment may have been the result of influence exercised on his behalf by his cousin the Lord Chamberlain, Sir Gilbert Pickering. At Cromwell’s funeral on 23 November 1658 Dryden processed with the Puritan poets John Milton and Andrew Marvell. Shortly thereafter he published his first important poem, Heroique Stanzas (1658), a eulogy on Cromwell’s death which is cautious and prudent in its emotional display. In 1660 Dryden celebrated the Restoration of the monarchy and the return of Charles II with Astraea Redux, an authentic royalist panegyric. In this work the interregnum is illustrated as a time of anarchy, and Charles is seen as the restorer of peace and order.

Later life and career[link]

After the Restoration, Dryden quickly established himself as the leading poet and literary critic of his day and he transferred his allegiances to the new government. Along with Astraea Redux, Dryden welcomed the new regime with two more panegyrics; To His Sacred Majesty: A Panegyric on his Coronation (1662), and To My Lord Chancellor (1662). These poems suggest that Dryden was looking to court a possible patron, but he was to instead make a living in writing for publishers, not for the aristocracy, and thus ultimately for the reading public. These, and his other nondramatic poems, are occasional—that is, they celebrate public events. Thus they are written for the nation rather than the self, and the Poet Laureate (as he would later become) is obliged to write a certain number of these per annum.^[6] In November 1662 Dryden was proposed for membership in the Royal Society, and he was elected an early fellow. However, Dryden was inactive in Society affairs and in 1666 was expelled for non-payment of his dues.

Portrait of John Dryden by James Maubert, circa 1695

Portrait of John Dryden by Godfrey Kneller, 1698

On 1 December 1663 Dryden married the royalist sister of Sir Robert Howard—Lady Elizabeth. Dryden’s works occasionally contain outbursts against the married state but also celebrations of the same. Thus, little is known of the intimate side of his marriage. Lady Elizabeth however, was to bear him three sons and outlive him.

With the reopening of the theatres after the Puritan ban, Dryden busied himself with the composition of plays. His first play, The Wild Gallant appeared in 1663 and was not successful, but he was to have more success, and from 1668 on he was contracted to produce three plays a year for the King's Company in which he was also to become a shareholder. During the 1660s and 70s theatrical writing was to be his main source of income. He led the way in Restoration comedy, his best known work being Marriage à la Mode (1672), as well as heroic tragedy and regular tragedy, in which his greatest success was All for Love (1678). Dryden was never satisfied with his theatrical writings and frequently suggested that his talents were wasted on unworthy audiences. He thus was making a bid for poetic fame off-stage. In 1667, around the same time his dramatic career began, he published Annus Mirabilis, a lengthy historical poem which described the events of 1666; the English defeat of the Dutch naval fleet and the Great Fire of London. It was a modern epic in pentameter quatrains that established him as the preeminent poet of his generation, and was crucial in his attaining the posts of Poet Laureate (1668) and historiographer royal (1670).

When the Great Plague of London closed the theatres in 1665 Dryden retreated to Wiltshire where he wrote Of Dramatick Poesie (1668), arguably the best of his unsystematic prefaces and essays. Dryden constantly defended his own literary practice, and Of Dramatick Poesie, the longest of his critical works, takes the form of a dialogue in which four characters–each based on a prominent contemporary, with Dryden himself as ‘Neander’—debate the merits of classical, French and English drama. The greater part of his critical works introduce problems which he is eager to discuss, and show the work of a writer of independent mind who feels strongly about his own ideas, ideas which demonstrate the incredible breadth of his reading. He felt strongly about the relation of the poet to tradition and the creative process, and his best heroic play Aureng-zebe (1675) has a prologue which denounces the use of rhyme in serious drama. His play All for Love (1678) was written in blank verse, and was to immediately follow Aureng-Zebe. In 1679 he was attacked in an alley near his home in Covent Garden by thugs hired by John Wilmot, 2nd Earl of Rochester,^[7] with whom he had a long-standing conflict.^[8]

Dryden's greatest achievements were in satiric verse: the mock-heroic MacFlecknoe, a more personal product of his Laureate years, was a lampoon circulated in manuscript and an attack on the playwright Thomas Shadwell. Dryden's main goal in the work is to "satirize Shadwell, ostensibly for his offenses against literature but more immediately we may suppose for his habitual badgering of him on the stage and in print."^[9] It is not a belittling form of satire, but rather one which makes his object great in ways which are unexpected, transferring the ridiculous into poetry.^[10] This line of satire continued with Absalom and Achitophel (1681) and The Medal (1682). His other major works from this period are the religious poems Religio Laici (1682), written from the position of a member of the Church of England; his 1683 edition of Plutarch's Lives Translated From the Greek by Several Hands in which he introduced the word biography to English readers; and The Hind and the Panther, (1687) which celebrates his conversion to Roman Catholicism.

Frontispiece and title page from volume II of a 1716 edition of the Works of Virgil translated by John Dryden.

When in 1688 James was deposed, Dryden’s refusal to take the oaths of allegiance to the new government left him out of favour at court. Thomas Shadwell succeeded him as Poet Laureate, and he was forced to give up his public offices and live by the proceeds of his pen. Dryden translated works by Horace, Juvenal, Ovid, Lucretius, and Theocritus, a task which he found far more satisfying than writing for the stage. 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. The publication of the translation of Virgil was a national event and brought Dryden the sum of ₤1,400.^[11] His final translations appeared in the volume Fables Ancient and Modern (1700), a series of episodes from Homer, Ovid, and Boccaccio, as well as modernized adaptations from Geoffrey Chaucer interspersed with Dryden’s own poems. The Preface to Fables is considered to be both a major work of criticism and one of the finest essays in English.^{[citation needed]} As a critic and translator he was essential in making accessible to the reading English public literary works in the classical languages.

Dryden died on May 1, 1700, and was initially buried in St. Anne's cemetery in Soho, before being exhumed and reburied in Westminster Abbey ten days later.^[12] He was the subject of various poetic eulogies, such as Luctus Brittannici: or the Tears of the British Muses; for the Death of John Dryden, Esq. (London, 1700), and The Nine Muses.

Reputation and influence[link]

Dryden was the dominant literary figure and influence of his age. He established the heroic couplet as a standard form of English poetry by writing successful satires, religious pieces, fables, epigrams, compliments, prologues, and plays with it; he also introduced the alexandrine and triplet into the form. In his poems, translations, and criticism, he established a poetic diction appropriate to the heroic couplet—Auden referred to him as "the master of the middle style"^[13]—that was a model for his contemporaries and for much of the 18th century. The considerable loss felt by the English literary community at his death was evident from the elegies that it inspired.^[14] Dryden's heroic couplet became the dominant poetic form of the 18th century. The most influential poet of the 18th century, Alexander Pope,^{[citation needed]} was heavily influenced by Dryden, and often borrowed from him; other writers were equally influenced by Dryden and Pope. Pope famously praised Dryden's versification in his imitation of Horace's Epistle II.i: "Dryden taught to join / The varying pause, the full resounding line, / The long majestic march, and energy divine." Samuel Johnson^[15] summed up the general attitude with his remark that "the veneration with which his name is pronounced by every cultivator of English literature, is paid to him as he refined the language, improved the sentiments, and tuned the numbers of English poetry." His poems were very widely read, and are often quoted, for instance, in Tom Jones and Johnson's essays.

Johnson also noted, however, that "He is, therefore, with all his variety of excellence, not often pathetic; and had so little sensibility of the power of effusions purely natural, that he did not esteem them in others. Simplicity gave him no pleasure." The first half of the 18th century did not mind this too much, but in later generations, this was increasingly considered a fault.

One of the first attacks on Dryden's reputation was by Wordsworth, who complained that Dryden's descriptions of natural objects in his translations from Virgil were much inferior to the originals. However, several of Wordsworth’s contemporaries, such as George Crabbe, Lord Byron, and Walter Scott (who edited Dryden's works), were still keen admirers of Dryden. Besides, Wordsworth did admire many of Dryden's poems, and his famous "Intimations of Immortality" ode owes something stylistically to Dryden's "Alexander's Feast". John Keats admired the "Fables," and imitated them in his poem Lamia. Later 19th century writers had little use for verse satire, Pope, or Dryden; Matthew Arnold famously dismissed them as "classics of our prose." He did have a committed admirer in George Saintsbury, and was a prominent figure in quotation books such as Bartlett's, but the next major poet to take an interest in Dryden was T. S. Eliot, who wrote that he was 'the ancestor of nearly all that is best in the poetry of the eighteenth century', and that 'we cannot fully enjoy or rightly estimate a hundred years of English poetry unless we fully enjoy Dryden.'^[16] However, in the same essay, Eliot accused Dryden of having a "commonplace mind." Critical interest in Dryden has increased recently, but, as a relatively straightforward writer (William Empson, another modern admirer of Dryden, compared his "flat" use of language with Donne's interest in the "echoes and recesses of words"^[17]) his work has not occasioned as much interest as Andrew Marvell's or John Donne's or Pope's.^[18]

Dryden is also believed to be the first person to posit that English sentences should not end in prepositions because it was against the rules of Latin grammar.^[19][20] Dryden created the prescription against preposition stranding in 1672 when he objected to Ben Jonson's 1611 phrase the bodies that those souls were frightened from, although he didn't provide an explanation of the rationale that gave rise to his preference.^[21]

Poetic style[link]

What Dryden achieved in his poetry was not the emotional excitement we find in the Romantic poets of the early nineteenth century, nor the intellectual complexities of the metaphysical poets. His subject-matter was often factual, and he aimed at expressing his thoughts in the most precise and concentrated way possible. Although he uses formal poetic structures such as heroic stanzas and heroic couplets, he tried to achieve the rhythms of speech. However, he knew that different subjects need different kinds of verse, and in his preface to Religio Laici he wrote: “...the expressions of a poem designed purely for instruction ought to be plain and natural, yet majestic...The florid, elevated and figurative way is for the passions; for (these) are begotten in the soul by showing the objects out of their true proportion....A man is to be cheated into passion, but to be reasoned into truth.”

Selected works[link]

• Astraea Redux, 1660
• The Wild Gallant (comedy), 1663
• The Indian Emperour (tragedy), 1665
• Annus Mirabilis (poem), 1667
• The Enchanted Island (comedy), 1667, an adaptation with William D'Avenant of Shakespeare's The Tempest
• Secret Love, or The Maiden Queen, 1667
• An Essay of Dramatick Poesie, 1668
• An Evening's Love (comedy), 1668
• Tyrannick Love (tragedy), 1669
• The Conquest of Granada, 1670
• The Assignation, or Love in a Nunnery, 1672
• Marriage à la mode, 1672
• Amboyna, or the Cruelties of the Dutch to the English Merchants, 1673
• The Mistaken Husband (comedy), 1674
• Aureng-zebe, 1675
• All for Love, 1678
• Oedipus (heroic drama), 1679, an adaptation with Nathaniel Lee of Sophocles' Oedipus
• Absalom and Achitophel, 1681
• The Spanish Fryar, 1681
• MacFlecknoe, 1682
• The Medal, 1682
• Religio Laici, 1682
• Threnodia Augustalis, 1685
• The Hind and the Panther, 1687
• A Song for St. Cecilia's Day, 1687
• Amphitryon, 1690
• Don Sebastian, 1690
• Creator Spirit, by whose aid, 1690. Translation of Rabanus Maurus' Veni Creator Spiritus ^[22]
• King Arthur, 1691
• Cleomenes, 1692
• Love Triumphant, 1694
• The Works of Virgil, 1697
• Alexander's Feast, 1697
• Fables, Ancient and Modern, 1700
• The Art of Satire
• To the Memory of Mr. Oldham, 1684

Select bibliography[link]

Editions

Biography

Modern criticism

See also[link]

• Translation

References[link]

External links[link]

Wikimedia Commons has media related to: John Dryden

Wikiquote has a collection of quotations related to: John Dryden

Wikisource has original works written by or about: John Dryden

v t e Works by John Dryden Poetry Astraea Redux (1660) Annus Mirabilis (1667) Absalom and Achitophel (1681-82) Mac Flecknoe (1682) Religio Laici (1682) Threnodia Augustalis (1685) The Hind and the Panther (1687) Alexander's Feast (1697) Plays The Wild Gallant (1663) The Indian Emperour (1665) The Tempest (1667) An Evening's Love (1668) Tyrannick Love (1669) The Conquest of Granada (1670) The Assignation (1672) Marriage à la mode (1672) Amboyna (1673) The Mistaken Husband (1674) Aureng-zebe (1675) All for Love (1678) Oedipus (1679) Amphitryon (1690) Essays Essay of Dramatick Poesie (1668) Translations Fables, Ancient and Modern (1700) Operas Albion and Albanius (1685) King Arthur (1691)

v t e English Restoration Comedy Playwrights Aphra Behn Susanna Centlivre Colley Cibber William Congreve John Dryden George Etherege George Farquhar Edward Howard James Howard Robert Howard Thomas Otway Charles Sedley Thomas Shadwell Thomas Southerne Richard Steele John Vanbrugh George Villiers William Wycherley Notable Plays The Mulberry-Garden (1668) The Rehearsal (1671) Marriage à la mode (1672) The Country Wife (1675) The Plain-Dealer (1676) The Man of Mode (1676) The Rover (1677) Sodom (1684) Bellamira (1687) Love's Last Shift (1696) The Relapse (1696) The Way of the World (1700) The Recruiting Officer (1706) The Beaux' Stratagem (1707) A Bold Stroke for a Wife (1717) Characters Beau Fop Gay couple Spark Rake Related People Charles II Jeremy Collier Thomas Hobbes Marquis de Sade Molière James II Georg Monck John Wilmot, 2nd Earl of Rochester Related articles Bedlam Chocolate houses Comedy of manners Court Drury Lane Fleet Prison Hedonism The Libertine (1994) The Libertine (film) Libertinism Lincoln's Inn Fields Mode Restoration of Charles II Second Anglo-Dutch War Short View of the Immorality and Profaneness of the English Stage Wit

Henry Purcell by John Closterman

Engraved portrait of Henry Purcell by R. White after Closterman, from Orpheus Britannicus

Henry Purcell ( /ˈpɜrsəl/;^[1] 10 September 1659 (?)^[2]– 21 November 1695), was an English composer. Although incorporating Italian and French stylistic elements into his compositions, Purcell's legacy was a uniquely English form of Baroque music. He is generally considered to be one of the greatest English composers; no other native-born English composer approached his fame until Edward Elgar.

Early life and career[link]

Purcell was born in St Ann's Lane Old Pye Street, Westminster. Henry Purcell Senior,^[3] whose older brother Thomas Purcell (d. 1682) was also a musician, was a gentleman of the Chapel Royal and sang at the coronation of King Charles II of England.^[4] Henry the elder had three sons: Edward, Henry and Daniel. Daniel Purcell (d. 1717), the youngest of the brothers, was also a prolific composer who wrote the music for much of the final act of The Indian Queen after Henry Purcell's death. Henry Purcell's family lived just a few hundred yards west of Westminster Abbey from the year 1659 and onward.^[5]

After his father's death in 1664, Purcell was placed under the guardianship of his uncle who showed him great affection and kindness.^[6] Thomas was himself a gentleman of His Majesty's chapel, and arranged for Henry to be admitted as a chorister. Henry studied first under Captain Henry Cooke (d. 1672),^[7] Master of the Children, and afterwards under Pelham Humfrey (d. 1674), Cooke's successor.^[8] Henry was a chorister in the Chapel Royal until his voice broke in 1673, when he became assistant to the organ-builder John Hingston, who held the post of keeper of wind instruments to the King.^[5]

Purcell is said to have been composing at nine years old, but the earliest work that can be certainly identified as his is an ode for the King's birthday, written in 1670.^[9] (The dates for his compositions are often uncertain, despite considerable research.) It is assumed that the three-part song "Sweet tyranness, I now resign" was written by him as a child.^[6] After Humfrey's death, Purcell continued his studies under Dr. John Blow. He attended Westminster School and in 1676 was appointed copyist at Westminster Abbey.^[4] Henry Purcell's earliest anthem "Lord, who can tell" was composed in 1678. It is a psalm that is prescribed for Christmas Day and also to be read at morning prayer on the fourth day of the month.^[10]

In 1679, he wrote some songs for John Playford's Choice Ayres, Songs and Dialogues and also an anthem, the name of which is not known, for the Chapel Royal. From a letter written by Thomas Purcell, and still extant, we learn that this anthem was composed for the exceptionally fine voice of the Rev. John Gostling, then at Canterbury, but afterwards a gentleman of His Majesty's chapel. Purcell wrote several anthems at different times for Gostling's extraordinary basso profondo voice, which is known to have had a range of at least two full octaves, from D below the bass staff to the D above it. The dates of very few of these sacred compositions are known; perhaps the most notable example is the anthem "They that go down to the sea in ships." In gratitude for the providential escape of King Charles II from shipwreck, Gostling, who had been of the royal party, put together some verses from the Psalms in the form of an anthem and requested Purcell to set them to music. The work is a very difficult one, opening with a passage which traverses the full extent of Gostling's range, beginning on the upper D and descending two octaves to the lower.

Later career and death[link]

Another portrait of Henry Purcell

In 1679, Blow, who had been appointed organist of Westminster Abbey in 1669, resigned his office in favour of his pupil.^[11] Purcell now devoted himself almost entirely to the composition of sacred music, and for six years severed his connection with the theatre. However, during the early part of the year, probably before taking up his new office, he had produced two important works for the stage, the music for Nathaniel Lee's Theodosius, and Thomas d'Urfey's Virtuous Wife.^[11] Between 1680 and 1688 Purcell wrote music for seven plays.^[12] The composition of his chamber opera Dido and Aeneas, which forms a very important landmark in the history of English dramatic music, has been attributed to this period, and its earliest production may well have predated the documented one of 1689.^[11] It was written to a libretto furnished by Nahum Tate, and performed in 1689 in cooperation with Josias Priest, a dancing master and the choreographer for the Dorset Garden Theatre. Priest's wife kept a boarding school for young gentlewomen, first in Leicester Fields and afterwards at Chelsea, where the opera was performed.^[13] It is occasionally considered the first genuine English opera, though that title is usually given to Blow's Venus and Adonis: as in Blow's work, the action does not progress in spoken dialogue but in Italian-style recitative. Both works run to less than one hour. At the time Dido and Aeneas never found its way to the theatre, though it appears to have been very popular in private circles. It is believed to have been extensively copied, but only one song was printed by Purcell's widow in Orpheus Britannicus, and the complete work remained in manuscript until 1840, when it was printed by the Musical Antiquarian Society under the editorship of Sir George Macfarren. The composition of Dido and Aeneas gave Purcell his first chance to write a sustained musical setting of a dramatic text. It was his only opportunity to compose a work in which the music carried the entire drama.^[12] The story of Dido and Aeneas derives from the original source in Virgil's epic the Aeneid.^[14]

Soon after Purcell's marriage, in 1682, on the death of Edward Lowe, he was appointed organist of the Chapel Royal, an office which he was able to hold simultaneously with his position at Westminster Abbey.^[15] His eldest son was born in this same year, but his life was short lived.^[16] His first printed composition, Twelve Sonatas, was published in 1683.^[17][18] For some years after this, he was busy in the production of sacred music, odes addressed to the king and royal family, and other similar works.^[19][20] In 1685, he wrote two of his finest anthems, "I was glad" and "My heart is inditing", for the coronation of King James II.^[15] One of Purcell's most elaborate, most important and most magnificent works was a birthday ode for Queen Mary. It is titled Come ye Sons of Art, and was written by Nahum Tate and set by Purcell.^[21]

In 1687, he resumed his connection with the theatre by furnishing the music for Dryden's tragedy, Tyrannick Love. In this year, Purcell also composed a march and quick-step, which became so popular that Lord Wharton adapted the latter to the fatal verses of Lillibullero; and in or before January 1688, he composed his anthem "Blessed are they that fear the Lord" by express command of the King. A few months later, he wrote the music for D'Urfey's play, The Fool's Preferment. In 1690, he composed the music for Betterton's adaptation of Fletcher and Massinger's Prophetess (afterwards called Dioclesian)^[22] and Dryden's Amphitryon. During the first ten years of his mastership, Purcell composed much- precisely how much we can only guess. In 1691, he wrote the music for what is sometimes considered his dramatic masterpiece, King Arthur, with the libretto by Dryden and first published by the Musical Antiquarian Society in 1843. Another one of Purcell's operas is King Arthur, or The British Worthy in 1691.^[13] In 1692, he composed The Fairy-Queen (an adaptation of Shakespeare's A Midsummer Night's Dream), the score of which (his longest for theatre)^[23] was rediscovered in 1901 and published by the Purcell Society.^[24] The Indian Queen followed in 1695, in which year he also wrote songs for Dryden and Davenant's version of Shakespeare's The Tempest (recently, this has been disputed by music scholars^[25]), probably including "Full fathom five" and "Come unto these yellow sands". The Indian Queen was adapted from a tragedy by Dryden and Sir Robert Howard.^[23] In these semi-operas (another term for which at the time was "dramatic opera"), the main characters of the plays do not sing but speak their lines: the action moves in dialogue rather than recitative. The related songs are sung "for" them by singers, who have minor dramatic roles.

Purcell's Te Deum and Jubilate Deo were written for Saint Cecilia's Day, 1694, the first English Te Deum ever composed with orchestral accompaniment. This work was annually performed at St Paul's Cathedral until 1712, after which it was performed alternately with Handel's Utrecht Te Deum and Jubilate until 1743, when both works were replaced by Handel's Dettingen Te Deum.^[26]

He composed an anthem and two elegies for Queen Mary II's funeral.^[27] Besides the operas and semi-operas already mentioned, Purcell wrote the music and songs for Thomas d'Urfey's The Comical History of Don Quixote, Boudicca, The Indian Queen and others, a vast quantity of sacred music, and numerous odes, cantatas, and other miscellaneous pieces. The quantity of his instrumental chamber music is minimal after his early career, and his keyboard music consists of an even more minimal number of harpsichord suites and organ pieces.^[28] In 1693, Purcell composed music for two Comedies: The Old Bachelor, and The Double Dealer. Purcell also composed for five other plays within the same year.^[11] In July 1695, Henry Purcell composed an ode for the Duke of Gloucester for his sixth birthday. The ode is titled Who can from joy refrain?^[29] Purcell's four-part sonatas were issued in 1697.^[11] In the remaining six years of his life, Henry Purcell wrote music for forty two plays.^[11]

Purcell died in 1695 at his home in Dean's Yard, Westminster, at the height of his career. He is believed to have been 35 or 36 years old at the time. The cause of his death is unclear: one theory is that he caught a chill after returning home late from the theatre one night to find that his wife had locked him out. Another is that he succumbed to tuberculosis.^[30] The beginning of Purcell's will reads:

"In the name of God Amen. I, Henry Purcell, of the City of Westminster, gentleman, being dangerously ill as to the constitution of my body, but in good and perfect mind and memory (thanks be to God) do by these presents publish and declare this to be my last Will and Testament. And I do hereby give and bequeath unto my loving wife, Frances Purcell, all my estate both real and personal of what nature and kind soever..."^[31]

Purcell is buried adjacent to the organ in Westminster Abbey. The music that he had earlier composed for Queen Mary's funeral was performed during his as well. Purcell was universally mourned as 'a very great master of music.'  Following his death, the officials at Westminster honoured him by unanimously voting that he be buried with no expense in the north aisle of the Abbey.^[32] His epitaph reads: "Here lyes Henry Purcell Esq., who left this life and is gone to that blessed place where only his harmony can be exceeded."^[33]

Henry Purcell fathered six children by his wife Frances, four of whom died in infancy. His wife, as well as his son Edward (1689–1740) and daughter Frances, survived him.^[11] Frances the elder died in 1706, having published a number of her husband's works, including the now famous collection called Orpheus Britannicus, in two volumes, printed in 1698 and 1702, respectively. Edward was appointed organist of St Clement Eastcheap, London, in 1711 and was succeeded by his son Edward Henry Purcell (d. 1765). Both men were buried in St Clement's near the organ gallery.

Influence and reputation[link]

"The Flowering of the English Baroque", bronze memorial sculpture by Glynn Williams in a small park on Victoria St, Westminster.

After his death, Purcell was honoured by many of his contemporaries, including his old friend John Blow, who wrote "An Ode, on the Death of Mr. Henry Purcell (Mark how the lark and linnet sing)" with text by his old collaborator, John Dryden. More recently, the English poet Gerard Manley Hopkins wrote a famous sonnet entitled simply "Henry Purcell", with a headnote reading: "The poet wishes well to the divine genius of Purcell and praises him that, whereas other musicians have given utterance to the moods of man's mind, he has, beyond that, uttered in notes the very make and species of man as created both in him and in all men generally."

Purcell also had a strong influence on the composers of the English musical renaissance of the early 20th century, most notably Benjamin Britten, who created and performed a realisation of Dido and Aeneas and whose The Young Person's Guide to the Orchestra is based on a theme from Purcell's Abdelazar. Stylistically, the aria "I know a bank" from Britten's opera A Midsummer Night's Dream is clearly inspired by Purcell's aria "Sweeter than Roses", which Purcell originally wrote as part of incidental music to Richard Norton's Pausanias, the Betrayer of His Country.

Purcell is honoured together with Johann Sebastian Bach and George Frideric Handel with a feast day on the liturgical calendar of the Episcopal Church (USA) on 28 July.^[34] In a 1940 interview Ignaz Friedman stated that he considered Purcell as great as Bach and Beethoven. In Victoria Street, Westminster, England, there is a bronze monument to Purcell (right), sculpted by Glynn Williams and erected in 1994.

Purcell's works have been catalogued by Franklin Zimmerman, who gave them a number preceded by Z. A Purcell Club was founded in London in 1836 for promoting the performance of his music, but was dissolved in 1863. In 1876 a Purcell Society was founded, which published new editions of his works. A modern day Purcell Club has been created, and provides guided tours and concerts in support of Westminster Abbey.

So strong was his reputation that a popular wedding processional was incorrectly attributed to Purcell for many years. The so-called Purcell's Trumpet Voluntary was in fact written around 1700 by a British composer named Jeremiah Clarke as the Prince of Denmark's March.

In 2009 Pete Townshend of The Who, an English rock band that established itself in the 1960s, identified Purcell's harmonies as an influence on the band's music (in songs such as "Won't Get Fooled Again" (1971), "I Can See for Miles" (1967) and the very Purcellian intro to "Pinball Wizard").^[35]

Michael Nyman, at the request of the director, built the score of Peter Greenaway's 1982 film, The Draughtsman's Contract on ostinati by Purcell from various sources, one misattributed. He credited Purcell as a "music consultant." Another of Purcell's ostinati, the Cold Genius aria from King Arthur, was used in Nyman's Memorial.

In popular culture[link]

Purcell is among the Baroque composers who has had a direct influence on modern rock and roll; according to Pete Townshend of The Who, Purcell was among his influences, particularly evident in the opening bars of The Who's "Pinball Wizard".^[36] The processional section from Purcell's "Music for the Funeral of Queen Mary," was also adapted for the synthesiser by Wendy Carlos to serve as the theme music for the 1971 film A Clockwork Orange, the music is also featured in the final scene of the 1995 film The Young Poisoner's Handbook. Noted cult New Wave artist Klaus Nomi regularly performed "The Cold Song" from King Arthur during his career, including a version on his debut self-titled album, Klaus Nomi, from 1981; his last public performance before his untimely death was an interpretation of the piece done with a full orchestra in December 1982 in Munich. Purcell wrote the song for a bass, but numerous countertenors have performed the piece in homage to Nomi. Sting recorded it on his 2009 album If On a Winter's Night....

In the 1995 film England, My England, the life of Purcell (played by Michael Ball) was depicted as seen through the eyes of a playwright in the 1960s who is trying to write a play about him.

In the 21st century, the soundtrack of the 2005 film version of Pride and Prejudice features a dance titled "A Postcard to Henry Purcell." This is a version by composer Dario Marianelli of Purcell's Abdelazar theme. In the German-language 2004 movie, Der Untergang ([the] Downfall (film), the music of Dido's Lament is used repeatedly as the end of the Third Reich culminates.

I was Glad Ode 1 – Sinfonia Ode 2 – Welcome to All Ode 3 – Hail to this Happy Assembly Ode 4 – Here the Deities Approve Ode 5 – While Joys Celestial Ode 6 – Then Lift Up Your Voices Ode 7 – Beauty, Thou Scene of Love Ode 8 – In a Consort of Voices Hear my prayer, O Lord (1.9 Mb)

	Toccata in A major Performed by Sylvia Kind on a harpsichord of the type made in the early 20th century
Problems listening to this file? See media help.

	"The Queen's Dolour (A Farewell)" Realised by Ronald Stevenson (1958), performed live by Mark Gasser
Problems listening to this file? See media help.

See also[link]

• List of compositions by Henry Purcell

References[link]

Notes

Bibliography

• Burden, Michael, ed. Performing the Music of Henry Purcell, Clarendon Press, Oxford, 1996.
• Burden, Michael, ed. Henry Purcell's Operas; The Complete Texts, Oxford University Press, Oxford, 2000.
• Dent, Edward J. Foundations of English Opera, Cambridge University Press, Cambridge, 1928.
• Duffy, Maureen, Henry Purcell, Fourth Estate Ltd, Londen, 1994.
• Holman, Peter and Robert Thompson. "Henry Purcell (ii)," Grove Music Online, ed. L. Macy (accessed 17 March 2006), grovemusic.com (subscription access).
• Holman, Peter, Henry Purcell, Oxford University Press, Oxford, 1994.
• Holst, Imogen, ed. Henry Purcell 1659–1695: Essays on His Music, Oxford University Press, London, 1959.
• Keates, Jonathan, Purcell, Chatto & Windus, Londen, 1995
• Moore, R. E., Henry Purcell and the Restoration Theatre, Greenwood Press, Westport CT, 1961.
• Muller, Julia, Words and Music in Henry Purcell's First Semi-Opera, Dioclesian, Edwin Mellen Press, New York, 1990.
• Orrey, Leslie and Rodney Milnes, Opera: A Concise History, World of Art, Thames & Hudson. ISBN 0-500-20217-6.
• Price, Curtis A., Henry Purcell and the London Stage,Cambridge University Press, Cambridge, 1984.
• Shay, Robert, and Robert Thompson, Purcell Manuscripts: The Principal Musical Sources Cambridge University Press, Cambridge, 2000.
• Westrup, Jack A., Purcell, Dent & Sons, Londen 1980
• Zimmerman, Franklin B., Henry Purcell, 1659–1695, His Life and Times, University of Pennsylvania Press, Philadelphia PA, 1983
•  This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). Encyclopædia Britannica (11th ed.). Cambridge University Press. 

External links[link]

Wikimedia Commons has media related to: Henry Purcell

Listen to this article (info/dl)

This audio file was created from a revision of the "Henry Purcell" article dated 2006-08-15, and does not reflect subsequent edits to the article. (Audio help)

More spoken articles

• Purcell by John F. Runciman, a biography forming part of Bell's Miniature Series of Musicians published in 1909, from Project Gutenberg
• Free scores by Henry Purcell in the Choral Public Domain Library (ChoralWiki)
• Works by or about Henry Purcell in libraries (WorldCat catalog)
• Free scores by Henry Purcell in the Werner Icking Music Archive (WIMA)
• Free scores by Henry Purcell at the International Music Score Library Project
• The Mutopia Project has compositions by Henry Purcell
• Short biography, audio samples and images of Purcell
• Monument to Purcell
• Harpsichord Suites played on virtual harpsichord
• Dido's Lament – Research leading to a narrative account of how Henry Purcell’s opera Dido and Aeneas was created.
• Henry Purcell at Allmusic