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
In a nutshell, John Dryden in his essay, An Essay on Dramatic Poesy, gives an account of the Neo-classical theory. He defends the classical drama saying that it is an imitation of life, and reflects human nature clearly. He also discusses the three unities, rules that require a play to take place in one place, during one day, and that it develops one single action or plot.
The Essay is written in the form of a dialogue involving four gentlemen: Eugenius, Crites, Lisideius and Neander. Neander seems to speak for Dryden himself.Eugenius takes the side of the modern English dramatists by criticizing the faults of the classical playwrights who did not themselves observe the unity of place. But Crites defends the ancient and pointed out that they invited the principles of dramatic art enunciated by Aristotle and Horace. Crites opposes rhyme in plays and argues that through the moderns excel in science; the ancient age was the true age of poetry. Lesideius defends the French playwrights and attacks the English tendency to mix genres. He defines a play as a just and lively image of human and the change of fortune to which it is subject for the delight and instruction of mankind.
Neander favours the Moderns, respects the Ancients, critical to rigid rules of dramas and he favours rhyme if it is in proper place like in grand subject matter. Neander a spokesperson of Dryden argues that tragic comedy is the best form for a play; because it is the closest to life in which emotions are heightened by both mirth and sadness. He also finds subplots as an integral part to enrich a play. He finds the French drama, with its single action.
Neander favours the violation of the unities because it leads to the variety in the English plays. The unities have a narrowing and crumpling effect on the French plays, which are often betrayed into absurdities from which the English plays are free. The violation of unities helps the English playwright to present a mere, just and lively image of human nature.
In his comparison of French and English drama, Neander characterizes the best proofs of the Elizabethan playwrights. He praises Shakespeare, ancients and moderns.Neander comes to the end for the superiority of the Elizabethans with a close examination of a play by Jonson which Neander believes a perfect demonstration that the English were capable of following the classical rules. In this way, Dryden’s commitment to the neoclassical tradition is displayed.
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