John Dryden

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- Bridge Course: Dryden's Essay on Dramatic Posey                                                                                                                                                                                 John Dryden 

                                                           (1631 - 1700)

- Difference between Aristotle's definition of Tragedy and Dryden's difition of play:

Aristotle's definition of Tragedy :                                                                                                    " Tragedy is an imitation of an action that is serious, complete, and of a certain magnitude through pity and fear effecting the proper purgation of these emotions."                                                                                                                                                                                                                                                        - Tragedy is the " Imitation of an action " according to " the law of probability or necessity. " Tragedy relates the ' Sad Episodes ' of life. Tragedy reflects seriousness.                                                                                                                                                          

 Elements of Tragedy:                                                                                                                                                                                                                 * Plot                                                                                                      * Character                                                                                            * Language                                                                                            * Acting                                                                                                                                      Dryden's definition of Play:                                                                        "Just and lively image of human nature, representing its passions and humors, and the changes of fortune to which it is subject, for the delight and instruction of mankind. "                                                                                                                                                                                                               - According to the definition, drama is an 'image' of 'human nature', and the image is 'just ' and 'lively'. By using the word 'just' Dryden seems to imply that literature imitates human actions. For Dryden , ' poetic imitation' is different from an exact, servile copy of reality, for, the imitation is not only 'just'; it is also 'lively'.                                                                                                                                            Dryden's Essay on Dramatic Posey:                                                                                                                                                                   Introduction:                                                                                                           John Dryden's Essay of Dramatick Posey was likely written in 1666 during the Great Plague of London. An Essay on Dramatic Posey is written in the form of a dialouge among four gentelmen: Eugenius, Crites, Lisideius and Neander.  

- Neander speaks for Dryden himself. Eugenius favours modern English dramatists byattacking the classical playwrights, who did not themselves always observe the unity of place. But Critesdefends the ancients and points out that they invited the principles of dramatic art paved by Aristotle andHorace. Crites opposes rhyme in plays and argues that though the moderns excel in sciences, the ancient agewas the true age of poetry. Lisideius defends the French playwrights and attacks the English tendency to mixgenres.

Eugenius:                                                                                                              He counters Crites by defending the moderns, particularly the English dramatists. Eugenius argues that the moderns have improved upon the work of the ancients by adding more variety and complexity to their plays. He believes that the moderns’ use of subplots and more intricate character development makes their works more engaging and relatable to contemporary audiences.                                                                                                                                                                                                                                               Crites:                                                                                                               He argues in favor of the classical dramatists, particularly the Greeks and Romans. Crites believes that the ancient playwrights followed the unities of time, place, and action more strictly, which he considers essential for creating a coherent and effective drama. He criticizes modern playwrights for their lack of adherence to these rules and for their excessive use of subplots, which he believes detracts from the main action.                                                                                                                                                                                  Lisideius:                                                                                                            He champions the French dramatists, particularly Pierre Corneille, arguing that they have perfected the art of drama by adhering more closely to the classical unities than the English playwrights. Lisideius praises the French for their emphasis on decorum, clarity, and moral instruction, which he sees as the primary purposes of drama.                                                                                                                                                                                      Neander:                                                                                                         Often considered to represent Dryden’s own views, Neander offers a balanced perspective. He defends the English dramatists, particularly Shakespeare and Ben Jonson, praising their creativity and originality. Neander acknowledges that while the English plays may not strictly adhere to the classical unities, they compensate for this with their rich character development, emotional depth, and ability to capture the complexities of human nature.                                                                                                                                                                                                                                                            Conclusion:

                  "An Essay of Dramatic Poesy" is a landmark work in the history of literary criticism. It provides a thoughtful and nuanced exploration of the debates surrounding drama in the 17th century, reflecting Dryden's deep understanding of both classical and contemporary literature. The essay remains relevant today for its insights into the nature of drama and the criteria by which it should be judged. Through the dialogue among Crites, Eugenius, Lisideius, and Neander, Dryden presents a balanced and inclusive view of dramatic art, advocating for both respect for tradition and openness to innovation.