2..0 Objectives
2..1 Introduction
2.1.1 Dryden as a Critic
Self-Check Questions for 2.1.1
2.1.2 Dryden on The Nature of Poetry
Self-Check Questions for 2.1.2
2.1.3 Dryden on The Function of Poetry
Self-Check Questions for 2.1.3
2..2 An Essay on Dramatic Poesy: An Introduction
Self-Check Questions for 2.2.1
2..2..2 Violation of the Three Unities
Self-Check Questions for 2.2.2
2.2.3 Eugenius Arguments on Superiority of Moderns over the Ancients
Self-Check Questions for 2.2.3
2.2..4 Crites’s Arguments in favour of the Ancients
Self-Check Questions for 2.2.4
2..2.5 Lisideius’s view in favour of Superiority of the French Drama over English Drama
Self-Check Questions for 2.2.5
2.2..6 Neander’s view in favour of Modern (English) Drama
Self-Check Questions for 2.2.6
2...3 The Ancients versus Modern Playwrights
2..4 Mixture of Tragedy and Comedy
2..5 Advocacy of writing plays in Rhymed Verse
(A) Bibliography
(B) Further Reading
Rhymed Verse versus Blank Verse Controversy:
In the Restoration era rhymed verse or Heroic Couplet was generally used as the medium of expression for Heroic Tragedy, while the great Elizabethan dramatists had used blank verse for their plays. Dryden himself used rhyme for his plays upto ‘Aurangzebe’. But in the Preface to this play he bids farewell to his ‘mistress rhyme’, and express his intention of turning to blank verse. However, in the Essay, he has expressed himself strongly in favour of rhyme through the mouth of Neander.
Crites’s attack on Rhyme occurs towards the end of the Essay, the discussion turns on rhyme and blank verse, and Crites attacks rhyme violently on the following grounds:
• Rhyme is not to be allowed in serious plays, though it may be allowed in comedies.
• Rhyme is unnatural in a play, for a play is in dialogues, and no man without premeditation speaks in rhyme.
• Blank Verse is also unnatural for no man speaks in verse either, but it is nearer to prose and Aristotle has laid down that tragedy should be written in a verse form which is nearer to prose. Thus, Dryden writes in An Essay on Dramatic Poesy, “Aristotle, 'Tis best to write Tragedy in that kind of Verse which is the least such, or which is nearest Prose: and this amongst the Ancients was the Iambique, and with us is blank verse.”
• Drama is a ‘just’ representation of Nature, and rhyme is unnatural, for nobody in Nature expresses himself in rhyme. It is artificial and the art is too apparent, while true art consists in hiding art.
• It is said that rhyme helps the poet to control his fancy. But one who has not the judgment to control his fancy in blank verse will not be able to control it in rhyme either. Artistic control is a matter of judgment and not of rhyme or verse.
Neander’s defence:
• The choice and the placing of the word should be natural in a natural order – that makes the language natural, whether it is verse or rhyme that is used.
• Rhyme itself may be made to look natural by the use of run-on lines, and variety, and variety resulting from the use of hemistich, manipulation of pauses and stresses, and the change of metre.
• Blank Verse is no verse at all. It is simply poetic prose and so fit only for comedies. Rhymed verse alone, made natural or near to prose, is suitable for tragedy. This would satisfy Aristotle’s dictum.
• Rhyme is justified by its universal use among all the civilized nations of the world.
• The Elizabethans achieved perfection in the use of blank verse and they, the Moderns, cannot excel them, or achieve anything significant or better in the use of blank verse. Hence they must perforce use rhyme, which suits the genius of their age.
• Tragedy is a serious play representing nature exalted to its highest pitch; rhyme being the noblest kind of verse is suited to it, and not to comedy.
At the end of the Essay, Dryden gives one more reason in favour of rhyme i.e. rhyme adds to the pleasure of poetry. Rhyme helps the judgment and thus makes it easier to control the free flights of the fancy. The primary function of poetry is to give ‘delight’, and rhyme enables the poet to perform this function well.
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