2.2 : An Essay on Dramatic Poesy: An Introduction

     John Dryden’s An Essay on Dramatic Poesy presents a brief discussion on Neo-classical theory of Literature. He defends the classical drama saying that it is an imitation of life and reflects human nature clearly.

        An Essay on Dramatic Poesy is written in the form of a dialogue among four gentlemen: Eugenius, Crites, Lisideius and Neander. Neander speaks for Dryden himself. Eugenius favours modern English dramatists by attacking the classical playwrights, who did not themselves always observe the unity of place. But Crites defends the ancients and points out that they invited the principles of dramatic art paved by Aristotle and Horace. Crites opposes rhyme in plays and argues that though the moderns excel in sciences, the ancient age was the true age of poetry. Lisideius defends the French playwrights and attacks the English tendency to mix genres.

        Neander speaks in favour of the Moderns and respects the Ancients; he is however critical of the rigid rules of dramas and favours rhyme. Neander who is a spokesperson of Dryden, argues that ‘tragic-comedy’ (Dryden’s phrase for what we now call ‘tragi-comedy’) is the best form for a play; because it is closer to life in which emotions are heightened by mirth and sadness. He also finds subplots as an integral part to enrich a play. He finds single action in French dramas to be rather inadequate since it so often has a narrowing and cramping effect.  

        Neander gives his palm to the violation of the three unities because it leads to the variety in the English plays.  Dryden thus argues against the neo-classical critics. Since nobody speaks in rhyme in real life, he supports the use of blank verse in drama and says that the use of rhyme in serious plays is justifiable in place of the blank verse.