Introduction:
John Dryden (1631–1700) was an influential English poet, playwright, and literary critic who played a pivotal role in shaping English literature during the late 17th century. Often referred to as the "father of English criticism."
Dryden's literary career spanned various genres, including poetry, drama, and prose. He is perhaps best known for his satirical poems such as "Absalom and Achitophel" and his heroic drama "All for Love,"
As Poet Laureate from 1668 to 1689, Dryden's influence extended beyond literature into the political and cultural spheres of his time. His works often reflected the complexities of Restoration England, engaging with themes of power, politics, and religion.
Dryden's legacy endures as a central figure in the transition from the Renaissance to the Enlightenment, marking a shift towards a more structured and rational approach to literature that would dominate English letters for much of the 18th century.
Dryden, a prominent literary critic, expounded his views on poetry's nature and function. In "An Essay on Dramatic Poesy," he debated the essence of drama and criticized the violation of the Three Unities. Eugenius championed moderns, while Crites supported ancients. Lisideius favored French drama, while Neander advocated English drama.
John Dryden's essay " an Essay of Dramatic Poesy," written in 1668, is a critical work that defends the use of drama as a legitimate form of poetry. The essay is structured as a dialogue among four characters—Eugenius, Crites, Lisideius, and Neander—each of whom represents different perspectives on dramatic poetry. Dryden himself is represented by Neander.
Here are some key points from the essay:
1. Defense of English Drama:
Neander argues that English drama, despite its perceived flaws, is superior to classical drama. He praises Shakespeare for his natural genius and the variety in his plays, even though he acknowledges that Shakespeare sometimes ignores classical unities (time, place, and action).
2. Unities of Time, Place, and Action :
The essay discusses the classical unities derived from Aristotle, which were strictly followed by French dramatists. The characters debate whether these unities should be strictly observed in modern drama. Dryden, through Neander, suggests that while the unities are important, they should not stifle the creativity and natural flow of the play.
3. Comparison Between Ancient and Modern Drama:
The essay compares ancient Greek and Roman drama with modern English and French drama. Crites, who represents the classical viewpoint, criticizes the moderns for deviating from classical rules. Neander defends the moderns, particularly the English, arguing that they have introduced new forms and enriched drama by blending comedy and tragedy.
4. The Role of the Audience:
The essay also considers the role of the audience in drama. It argues that the best drama is one that pleases the audience while also adhering to certain artistic standards.
5. Art vs. Nature:
Another major theme is the debate over whether art (strict adherence to rules) or nature (natural genius and creativity) should dominate in dramatic poetry. Dryden leans towards the importance of nature, valuing the creative freedom that allows for the blending of different elements within a play.
Dryden's essay is considered a significant work in literary criticism, as it explores the nature of drama, the role of the playwright, and the balance between classical rules and creative freedom.
Aristotle and John Dryden, though both influential in the world of literary criticism, approached the concept of dramatic works from different perspectives and contexts, which led to some key differences in their definitions of tragedy and play.
Aristotle's Definition of Tragedy:
Aristotle, in his "Poetics"provides a detailed and structured definition of tragedy. According to him, tragedy is a form of drama that:
1. Imitation of an Action:
Tragedy is an imitation of an action that is serious, complete, and of a certain magnitude.
2. Plot Structure:
It has a beginning, middle, and end, with a well-structured plot being central to the effectiveness of the tragedy.
3. Catharsis:
The purpose of tragedy is to evoke emotions of pity and fear in the audience, leading to a catharsis (purging) of these emotions.
4. Noble Characters:
The protagonists are typically noble or high-born individuals who are neither wholly good nor wholly evil, making their downfall both inevitable and tragic.
5. Unity of Time, Place, and Action:
Aristotle emphasizes the unities of time, place, and action, where the events of the tragedy should occur within a single day, in a single setting, and follow a single plotline.
Dryden's Definition of Play:
John Dryden, writing in the 17th century, approached the concept of drama with a broader and more flexible perspective, influenced by both classical models and contemporary tastes. His definition of a play, especially as seen in his prefaces and critical essays, includes the following aspects:
1. Variety and Entertainment:
Dryden viewed plays as a form of entertainment meant to delight the audience. While he acknowledged the didactic potential of plays, he emphasized their role in providing pleasure.
2. Blend of Genres:
Unlike Aristotle's strict categorization, Dryden advocated for a blending of genres, where elements of comedy and tragedy could coexist within a single play. This reflects the Restoration era's taste for variety and spectacle.
3. Natural Imitation:
Dryden emphasized the idea of natural imitation, where characters and their actions should reflect real life, though he allowed for some poetic exaggeration for the sake of dramatic effect.
4. Poetic License:
He was more flexible regarding the unities of time, place, and action. Dryden argued that a strict adherence to these unities could limit the creativity and scope of a play.
5. Moral Purpose:
While Dryden acknowledged the moral purpose of drama, he did not see it as the primary function. Instead, he believed that the moral lessons should emerge naturally from the plot and characters rather than being imposed upon them.
Key Differences:
1. Purpose:
Aristotle saw tragedy as a vehicle for catharsis, focusing on the moral and emotional impact on the audience. Dryden, while acknowledging the moral potential of plays, emphasized entertainment and variety as primary goals.
2. Structure:
Aristotle emphasized a strict structure with a unified plot and the observance of the unities. Dryden, on the other hand, favored a more flexible approach, allowing for a mix of genres and less rigid adherence to the classical unities.
3. Characterization:
Aristotle’s tragic characters are of noble birth and their downfall is tied to a tragic flaw (hamartia). Dryden’s characters could come from a wider range of social backgrounds, and their actions were more closely tied to the realism of contemporary life.
4. Genre Flexibility:
Aristotle's tragedy was a distinct and separate genre, while Dryden was open to blending tragedy with other forms, reflecting the evolving tastes of the Restoration period.
These differences highlight the evolution of dramatic theory from the classical era to the more diverse and experimental approaches of the 17th century.
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