John Dryden’s An Essay of Dramatic Poesy is a seminal work of English literary criticism published in 1668. Instead of a straightforward essay, it takes the form of a lively, Platonic dialogue among four fictional characters. This dramatic structure allows Dryden to explore complex and often conflicting viewpoints on drama without taking a single, dogmatic stance. The setting is a boat on the River Thames during the English naval victory over the Dutch in 1665, a symbolic backdrop that represents the ascendancy of English power and, by extension, English dramatic tradition.
Contents
The Four Characters and Their Real-Life Counterparts
A key element of the essay’s analysis is understanding that the four characters are not merely allegorical figures but are widely believed to represent prominent literary figures of Dryden’s time. This gives the debate a personal and contemporary flavor, as the arguments reflect real critical disagreements of the Restoration period.
- Crites: Represents Dryden’s brother-in-law, Sir Robert Howard. Crites is the staunch classicist who argues for the superiority of ancient Greek and Roman drama. He champions strict adherence to the classical unities of time, place, and action, and critiques modern English drama for its supposed lack of form and discipline. This viewpoint reflects the traditionalist critics who believed that the English stage had become chaotic and vulgar.
- Eugenius: Represents Charles Sackville, Lord Buckhurst. Eugenius, which means “a well born genius,” is the voice of the moderns, arguing that contemporary English playwrights have surpassed the ancients in wit, invention, and the complexity of their plots. This perspective is a direct challenge to the authority of classical tradition and champions the new, progressive spirit of the Restoration.
- Lisideius: Represents Sir Charles Sedley. As a Francophile, Lisideius argues for the superiority of the French stage. He praises its strict adherence to classical rules, its elegance, and its use of rhyming couplets in tragedy. His views highlight the significant influence of French Neoclassicism on English literary thought at the time.
- Neander: Widely accepted as the mouthpiece for John Dryden himself. The name “Neander” means “new man” in Greek, symbolizing Dryden’s role as a key figure of the new Restoration era. Neander offers a balanced and nuanced defense of English drama. He acknowledges the strengths of the classical and French traditions but ultimately argues for the greater vitality, variety, and naturalness of the English stage. He famously defends the use of tragi-comedy, arguing that the mix of genres more accurately reflects the complexity of human life. He also defends the English disregard for some unities, believing it allows for more interesting and expansive plots.
Central Themes and Significance
Through the dynamic interaction of these four characters, Dryden explores critical debates that shaped the English literary landscape for centuries:
- The “Battle of the Ancients and Moderns”: The essay is a cornerstone of this long-running debate. While Crites champions the ancients, Neander’s arguments, particularly his defense of Shakespeare’s genius despite his “irregularities,” ultimately make a powerful case for the moderns.
- Literary Rules vs. Artistic Genius: The dialogue questions the absolute authority of classical rules. While the characters acknowledge their value, Neander’s arguments suggest that rigid adherence to rules can stifle creativity and dramatic power. He implies that a work’s greatness lies in its ability to captivate and move an audience, not just in its formal correctness.
- National Identity in Literature: By defending English drama against French and classical models, Dryden subtly links literary and national pride. The setting on the Thames, with the sound of a naval victory in the background, reinforces this idea—just as England is militarily superior, its literary tradition possesses a unique and powerful genius.
An Essay of Dramatic Poesy is a groundbreaking work because of its method and its message. By using the dialogue form, Dryden avoids didacticism and presents a multi-faceted argument. The essay is a foundational text of English literary criticism because it moves beyond mere prescription and engages in a sophisticated, comparative analysis of dramatic theory and practice, laying the groundwork for future critical thought.
Important Quotations:
1. The definition of a play
“A just and lively imitation of human nature in action, for the delight and instruction of mankind.”
- Explanation: This quote, spoken by Lisideius, provides Dryden’s famous definition of a play. It highlights the core purpose of drama: to represent life in a way that is both accurate (“just”) and engaging (“lively”). It also emphasizes the dual function of art—to please the audience (“delight”) and to teach a moral lesson or provide insight (“instruction”). This definition echoes the classical view of art, particularly that of Horace, and serves as the central touchstone for the entire discussion.
2. The genius of the age
“The genius of each age is different; Shakespeare and Fletcher have written to the genius of the age and nation in which they lived; for though nature is the same in all places, and reason too the same, yet the climate, the age, the disposition of the people, to which a poet writes, may be so different, that what pleased the Greeks would not satisfy an English audience.”
- Explanation: This quote, presented by Neander, argues against a rigid adherence to the rules of classical drama. Dryden believes that a playwright must write for their own time and audience. While human nature (“the same in all places”) is a constant, the specific tastes and cultural context of an era change. Therefore, a play that was successful in ancient Greece may not resonate with a 17th-century English audience. This is a pragmatic and historically sensitive argument that defends the English playwrights’ departure from classical norms, such as the three unities of time, place, and action.
3. A defense of English drama
“There is no theatre in the world has anything so absurd as the English tragicomedy.” (Lisideius)
“The French plays… are indeed the beauties of a statue, but not of a man, because not animated with the soul of poesy, which is imitation of humour and passions.” (Neander)
- Explanation: These two quotes represent the core of the English vs. French drama debate. Lisideius, favoring French theater, criticizes the English “tragicomedy” for its mixture of genres, which he sees as “absurd.” However, Neander, who champions English drama, counters this by arguing that French plays, despite their strict adherence to rules and formal elegance, lack the “soul” of true poetry. He believes they are like “statues”—beautiful but lifeless. In contrast, the English stage, with its tragicomedies and subplots, offers a more realistic and lively imitation of human experience, which is full of mixed emotions and events.
Aman Pal
Literatureman