John Dryden’sEssay of Dramatic Poesyis a cornerstone of English literary criticism, composed in 1668 during a time of significant change and development in English literature. Written as a dialogue among four characters, the essay explores critical debates on drama and theatrical expression. Rather than presenting a dry, formal argument, Dryden chooses a conversational structure that allows different viewpoints to interact dynamically. This approach provides readers with an accessible yet intellectually rich exploration of dramatic theory, making the essay essential reading for anyone studying classical and neoclassical drama, poetic art, and the evolution of English literary criticism.
Historical and Literary Context
Dryden wroteEssay of Dramatic Poesyafter the closure of London theaters due to the Great Plague of 1665. As a result, the essay can be seen both as a reflection on the condition of the theater and as a contribution to the broader discussion about the future of dramatic writing. At this time, English drama was in a period of transition, influenced by French neoclassicism and classical ideals from Aristotle and Horace. The essay reflects these tensions and synthesizes perspectives from ancient and contemporary critics.
Main Characters and the Dialogical Structure
The essay is structured as a dialogue among four fictionalized characters
- CritesDefends the classical Greek and Roman dramatists as the finest examples of dramatic poetry.
- LisideiusAdvocates for French drama, praising its structure, adherence to the unities, and decorum.
- NeanderA spokesperson for Dryden himself, Neander argues in favor of English drama, especially the works of Shakespeare and Jonson.
- EugeniusPrefers modern dramatists over the ancient ones and presents a more balanced viewpoint.
The setting is a boat ride on the Thames, allowing for a casual yet structured philosophical discussion. The characters do not argue aggressively but instead present differing yet thoughtful perspectives on the art of drama.
Crites The Case for the Ancients
Crites begins the discussion by extolling the virtues of classical drama. He argues that the works of ancient playwrights such as Sophocles, Euripides, and Aristophanes display superior judgment, structure, and moral clarity. According to Crites, the ancients understood the purpose of drama to instruct and to please and they adhered strictly to rules derived from Aristotle’sPoetics. Their language was elevated and pure, and they avoided the excesses and vulgarities that, in his view, marred contemporary plays.
Critique of the Moderns
Crites criticizes modern playwrights for neglecting the classical unities of time, place, and action. He claims their plots are disjointed and that their characters often speak in an unrefined manner. He sees the abandonment of structure as a decline in artistic integrity.
Lisideius French Drama as an Ideal
Lisideius enters the conversation by defending the French school of drama, particularly the works of Pierre Corneille and Jean Racine. He praises French playwrights for their discipline, elegance, and restraint. In contrast to the English preference for action-packed, sprawling plots, French dramas focus on internal conflict and emotional depth.
Defense of the Unities
Lisideius supports the strict observance of the unities, which he believes lends coherence and realism to a play. He criticizes English dramatists for violating these rules, resulting in chaotic and implausible narratives. For Lisideius, drama should reflect real life in its economy and emotional clarity.
Eugenius A Modern Perspective
Eugenius offers a more moderate view. He acknowledges the strengths of the ancients but argues that modern dramatists have achieved greater variety and innovation. He appreciates the rich language, complex characters, and entertaining qualities of modern plays. Eugenius suggests that each era contributes something unique to dramatic art and that it is unfair to claim the superiority of one over another.
Value of Entertainment
One of Eugenius’s key points is that drama must entertain as well as instruct. He feels that modern plays succeed in capturing audiences by combining moral themes with emotional engagement and spectacle. This balance, he argues, is essential for the vitality of dramatic poetry.
Neander In Defense of English Drama
Neander, who most closely represents Dryden’s own views, presents a strong defense of English drama. He argues that English playwrights, particularly Shakespeare and Ben Jonson, have developed a form of drama that, while not strictly classical, surpasses others in emotional depth, character development, and richness of language.
Praise of Shakespeare
Neander highlights Shakespeare’s genius in capturing the human experience. He admits that Shakespeare did not always follow classical rules, but he believes that his creativity, insight, and versatility more than compensate. Shakespeare’s characters are lifelike, his plots are varied and engaging, and his language possesses a poetic quality unmatched by others.
Defense of Tragicomedy
Neander also defends the English tradition of mixing tragedy and comedy, a practice frowned upon by the French. He argues that this blending reflects the complexities of real life and provides a fuller emotional experience for the audience. Rather than weaken a play, this mixture of tones can strengthen its impact.
Naturalness Over Artificiality
Neander prefers the more naturalistic approach of English dramatists. He criticizes the French for being overly rigid and artificial in their construction of drama. For Neander, the flexibility of English drama allows for more dynamic storytelling and a closer reflection of real human behavior.
A Celebration of Dramatic Diversity
In the final section of the essay, the conversation ends amicably without a definitive winner. Each character has made compelling arguments, reflecting the richness and complexity of dramatic theory. Rather than insisting on one correct form of drama, Dryden’s work emphasizes the value of diversity and innovation in theatrical expression.
Legacy of Dryden’s Essay
Essay of Dramatic Poesyremains influential because of its balanced approach, its conversational tone, and its willingness to entertain multiple perspectives. It does not impose a rigid critical doctrine but instead opens up space for debate and reflection. For modern readers, it serves as a bridge between classical and modern criticism, illustrating the enduring tension between tradition and innovation in the arts.
Key Themes and Relevance Today
- Debate between classical and modern aesthetics
- Function of drama to instruct, to entertain, or both
- Importance of structure versus freedom in storytelling
- The role of the audience in determining the value of a play
- Celebration of national theatrical traditions
Ultimately, Dryden’sEssay of Dramatic Poesyinvites us to think critically about what makes great drama and to appreciate the contributions of different eras and cultures. It reminds us that literature, like all art, thrives in dialogue and debate something as true now as it was in the seventeenth century.