1. Introduction
·
Written in 1668,
during the Restoration period, while London theatres had reopened after being
closed during the Puritan rule.
·
Dryden (1631–1700): Poet Laureate, first major
English literary critic.
·
An Essay on
Dramatic Poesy is a dialogue
between four characters, set against the backdrop of the Second Dutch War (1665).
·
Aim: To defend the value of drama and establish
English drama’s worth compared to classical and French models.
2. Structure and Form
·
A dialogue
in prose, not a formal treatise.
·
Four interlocutors:
o
Crites
→ defends the ancients (classical drama).
o
Eugenius
→ supports the moderns (English dramatists of the time).
o
Lisideius
→ argues for French drama (regular, rule-bound, neoclassical).
o
Neander
(represents Dryden) → defends English drama, especially Shakespeare.
3. Central Issues Discussed
(a) Ancients vs Moderns
·
Crites:
Ancient dramatists (Aristotle, Sophocles, Euripides, Plautus, Terence) set the
rules; moderns merely imitate them.
·
Eugenius:
Moderns improve upon the ancients in characterization, plot complexity, and
natural dialogue.
(b) French vs English Drama
·
Lisideius
praises French drama:
o
Observes three
unities (time, place, action).
o
Structured, elegant, decorous.
o
Avoids mixing tragedy with comedy.
o
More believable and morally instructive.
·
Neander
(Dryden) defends English drama:
o
Richer variety: blends tragedy and comedy
(tragi-comedy).
o
More realistic representation of life.
o
Use of subplots
adds depth.
o
Greater emotional impact; appeals to human
nature more vividly.
o
Shakespeare praised for “larger, looser, and
freer” spirit, even if he broke classical rules.
(c) Use of Rhyme in Drama
·
Contemporary debate: blank verse vs rhymed
verse.
·
Neander/Dryden
argues:
o
Rhyme adds decorum, elevation, and delight.
o
Helps structure and control expression.
o
Blank verse is too close to prose, lacks the
polish needed for drama.
4. Dryden’s Critical Positions
·
Drama as
imitation (follows Aristotle’s mimesis).
·
The end of
drama is delight and instruction (Horatian principle).
·
Rules vs
genius: Rules (classical unities) are useful, but true greatness comes
from natural genius (e.g., Shakespeare).
·
Catharsis:
Not explicitly discussed, but Dryden accepts Aristotle’s notion of purging
emotions through pity and fear.
·
Practical
criticism: Dryden applies theory to actual dramatists, not abstract
speculation.
5. Key Quotations
·
Lisideius describes a play as a "just and
lively image of human nature, representing its passions and humours" for
"delight and instruction of mankind". “Imitation of nature is the
chief end of the poet.”
·
Crites portrays Ben Jonson as an imitator and
"learned plagiary" of ancient writers.
·
Neander distinguishes Shakespeare's natural genius, calling him "the
Homer...of our dramatic poets." He says for Shakespeare and Jonson that
"I admire him, but I love Shakespeare".
6. Importance of the Essay
·
First major work of literary criticism in English.
·
Establishes comparative criticism (ancient vs modern, French vs
English).
·
Advocates a liberal humanist view: rules matter, but genius and
audience delight matter more.
·
Balances neoclassical
discipline with English dramatic freedom.
7. Critical Reception & Legacy
·
Seen as a landmark
in English criticism.
·
Influenced Augustan critics (Pope, Johnson).
·
Dryden’s defense of Shakespeare paved the way
for later Romantic critics.
·
Shows early modern England’s search for a
national literary identity.
Relevance in
Present Day Perspective
1. Comparative Criticism
·
Dryden set up a model of evaluating texts by
comparing ancients vs moderns, French vs English.
·
Today, comparative literature and cross-cultural
analysis follow the same method.
·
Modern scholars often place Shakespeare next to
Ibsen, Brecht, or Indian dramatists—the same spirit of comparative inquiry
Dryden pioneered.
2. Rules vs Creativity
Debate
·
Dryden asked: Should writers follow strict rules
(Aristotle, French unities), or should they trust creative genius (like
Shakespeare)?
·
This debate continues today in:
o
Creative
writing pedagogy: Should students stick to “forms” or experiment?
o
Cinema/Drama:
Formulaic genres vs experimental narratives.
·
Dryden’s flexible answer (“rules help, but
genius matters more”) still resonates in art and literature studies.
3. National vs Global
Literature
·
Dryden defended English drama against French classical models.
·
Today, nations still wrestle with balancing local/national literary identity against
global or Western standards.
·
Example: Indian English theatre vs Western drama
traditions.
4. Mixed Genres and
Hybridity
·
Dryden praised English drama for blending tragedy and comedy (tragi-comedy).
·
Modern literature and media are full of hybrids:
tragicomedies, dramedies, magic realism, postmodern pastiche.
·
Dryden’s defense of “mixture” anticipates today’s
embrace of genre-fluid storytelling.
5. Criticism as Dialogue
·
The essay is in dialogue form, not a rigid treatise.
·
This conversational, plural-voiced style mirrors
contemporary critical practices,
which value dialogue, diversity of perspectives, and debate rather than
absolute authority.
6. Practical Criticism
·
Dryden discusses actual writers (Shakespeare,
Jonson, Fletcher), not just abstract rules.
·
This approach—close reading + practical
examples—is central to modern literary criticism and pedagogy.
7. The Role of Drama in
Society
·
Dryden emphasized that drama should delight and instruct.
·
Today, debates on literature’s purpose
(entertainment vs education, art vs ideology) echo the same tension.
·
For instance: Is Netflix drama just
entertainment, or can it also be socially instructive?
8. Legacy in Literary Theory
·
Dryden paved the way for later critics (Johnson,
Coleridge, Arnold, Eliot).
·
His balancing act between classicism and creativity foreshadows
later theoretical debates (structuralism vs poststructuralism, tradition vs
innovation).
Conclusion
The relevance of Dryden’s Essay
on Dramatic Poesy lies in its timeless
questions:
·
Should art follow rules or break them?
·
What is the balance between national tradition
and global influence?
·
What is the purpose of drama: pleasure,
instruction, or both?
These remain the central
debates of literary and cultural criticism today, making Dryden’s
essay not just a Restoration document but a living text in critical theory.
Very Short Answer
Type Questions (1–2 lines)
Q1. In which year was An Essay on Dramatic
Poesy published?
Ans. It was published in 1668 during the Restoration period.
Q2. Who are the four speakers in the dialogue?
Ans. Crites, Eugenius, Lisideius, and Neander (Dryden’s persona).
Q3. What is the main aim of the essay?
Ans. To defend the value of drama and establish the worth of English drama.
Q4. Which dramatist does Dryden praise as having the “largest and
most comprehensive soul”?
Ans. William Shakespeare.
Q5. Who among the characters defends French drama?
Ans. Lisideius.
Q6. What dramatic principle does Crites support?
Ans. He supports the authority of the ancients and classical rules.
Q7. What is Dryden’s view on rhyme in drama?
Ans. He supports rhyme, claiming it adds decorum, elevation, and delight.
Q8. Which literary war forms the backdrop of the essay?
Ans. The Second Dutch War (1665).
Q9. What two functions of drama does Dryden emphasize?
Ans. Drama should both delight and instruct.
Q10. What is the form of An Essay on Dramatic
Poesy?
Ans. A dialogue in prose.
Short Answer Type
Questions (3–5 sentences)
Q1. What is the central debate in An
Essay on Dramatic Poesy?
Ans. The central debate concerns whether ancient dramatists are superior to
moderns, and whether French drama, which follows strict classical rules, is
better than English drama, which mixes comedy and tragedy. Through the
dialogue, Dryden presents multiple perspectives but ultimately defends English
drama.
Q2. How does Dryden (through Neander) defend English drama?
Ans. Neander argues that English drama better imitates real life by blending tragedy
and comedy. He praises the use of subplots and variety, which makes English
plays more engaging and emotionally powerful. He defends Shakespeare as a
genius who transcends rigid rules.
Q3. What role does the debate on rhyme vs blank verse play in the
essay?
Ans. Dryden, through Neander, defends the use of rhyme in serious plays,
arguing it adds structure, elegance, and delight. Critics of rhyme, however,
see it as artificial compared to blank verse. The debate reflects Restoration
experiments with rhymed heroic plays.
Q4. Why is An Essay on Dramatic
Poesy considered important in English criticism?
Ans. It is the first major critical work in English literature that applies
comparative criticism. Dryden combines classical authority with practical analysis
of contemporary playwrights, creating a foundation for modern literary
criticism.
Q5. What is the relevance of the essay today?
Ans. The essay raises timeless issues—rules vs creativity, national vs global
literary standards, the purpose of art, and the value of genre hybridity. These
debates continue in contemporary literature, theatre, and film, making Dryden’s
criticism still significant.
Long Answer Type
Question
Q. Critically examine Dryden’s An
Essay on Dramatic Poesy as a defence of English drama.
Answer
Introduction
John Dryden’s An Essay on Dramatic Poesy
(1668) is the first significant work of English literary criticism. Written in
dialogue form, it presents four interlocutors—Crites, Eugenius, Lisideius, and
Neander—who debate the relative merits of ancient, modern, French, and English
drama. While the essay engages with classical rules and neoclassical ideals, it
ultimately serves as Dryden’s defence of the richness and vitality of English
theatre.
1. Ancients vs Moderns
·
Crites defends the ancients, insisting they
established the permanent rules of drama.
·
Eugenius counters by claiming that modern
dramatists surpass the ancients in plot construction, characterization, and
natural dialogue.
·
Through this debate, Dryden situates English
drama as an heir to tradition but not bound by it.
2. French vs English Drama
·
Lisideius praises French drama for its strict
adherence to the three unities of time, place, and action, its
elegance, and its moral refinement.
·
Neander, Dryden’s mouthpiece, defends English
drama for its freedom, variety, and truth to life.
·
He praises the English practice of mixing
tragedy with comedy, the use of subplots, and the emotional power of dramatists
like Shakespeare and Fletcher.
·
Shakespeare, according to Dryden, had the
“largest and most comprehensive soul,” whose genius outweighed technical
irregularities.
3. Debate on Rhyme in Drama
·
A central concern of Restoration drama was
whether plays should be written in rhyme or blank verse.
·
Neander argues for rhyme in serious drama,
claiming it adds structure, polish, and delight, though he admits it must not
sound forced.
·
This shows Dryden’s attempt to adapt classical
principles to contemporary English tastes.
4. Purpose of Drama
·
Dryden asserts that the purpose of drama is both
delight and instruction (Horatian principle).
·
English plays, though less regular, achieve this
by appealing directly to human nature and emotions, thus effecting a deeper
impact on audiences.
5. Critical Significance
·
The essay is not dogmatic; instead, it presents
multiple perspectives and concludes with a balanced defence of English theatre.
·
It is practical criticism: Dryden evaluates real
playwrights (Shakespeare, Jonson, Fletcher) rather than abstract theory.
·
It marks a transition in English criticism,
blending classical respect with modern flexibility.
Conclusion
An
Essay on Dramatic Poesy is Dryden’s attempt to reconcile classical authority with the creative
vitality of English drama. By defending English dramatists’ freedom, variety,
and emotional power against the rigidities of French neoclassicism, Dryden
articulates a vision of literature that values both rules and genius. The essay thus remains a landmark
in English criticism and a precursor to later debates about art’s function,
rules, and national literary identity.
Long Answer
Question
Discuss An Essay of Dramatic Poesy as a major work of
English literary criticism. Explain Dryden’s views on ancient and modern drama,
French and English theatre, the unities, and the function of drama.
Answer
John Dryden is one of the most important literary
critics of the Restoration Age in English literature. His work An Essay of Dramatic Poesy, published in 1668,
is considered the first significant work of modern English criticism. The essay
is written in the form of a dialogue and presents a lively discussion on drama
and literary principles. Through this work, Dryden not only defends English
drama but also gives balanced opinions on classical and modern literature. The
essay reflects the literary debates of the Restoration period and shows
Dryden’s practical and moderate approach to criticism.
The background of
the essay is important. During the Restoration period, theatres reopened after
being closed during the Puritan rule. Literary critics and dramatists debated
many issues such as the superiority of ancient or modern writers, the value of
French drama, and the rules of dramatic composition. Dryden enters this debate
through a conversation among four speakers: Crites, Eugenius, Lisideius, and
Neander. Each character represents a particular viewpoint, and Neander
represents Dryden himself.
The essay begins
with a scene on the River Thames during the naval battle between the English
and the Dutch. The four friends discuss drama while travelling on a boat. This
conversational style makes the essay lively and interesting. Instead of giving
direct arguments, Dryden allows different opinions to emerge naturally through
dialogue.
One of the central
topics in the essay is the debate between the ancients and the moderns. Crites
supports the ancient writers and argues that Greek and Roman dramatists
achieved perfection in drama. According to him, modern writers only imitate the
ancients and cannot surpass them. He praises classical discipline, order, and
adherence to rules.
Eugenius, on the
other hand, defends modern writers. He argues that modern dramatists have
improved drama because they have learned from the mistakes of the ancients. He
points out that ancient plays often lacked variety and emotional depth. Modern
writers, according to Eugenius, present more complex characters and richer
plots. Dryden, through this debate, suggests that modern writers can equal or
even surpass ancient writers while still respecting classical traditions.
Another important
discussion in the essay concerns French and English drama. Lisideius praises
French drama for its order, clarity, and observance of the three unities.
French dramatists strictly followed classical rules and maintained decorum in
their plays. According to Lisideius, French plays are refined and polished.
Neander, however,
defends English drama. He argues that English dramatists such as William Shakespeare and Ben Jonson are superior because they portray
life more naturally and vividly. English plays may not always follow strict
rules, but they possess greater emotional power and variety. Dryden believes
that drama should reflect human nature realistically, and English playwrights
achieve this better than French dramatists.
Dryden especially
praises Shakespeare. He calls Shakespeare the writer who understood human nature
best. According to Dryden, Shakespeare’s characters speak naturally and
represent real human emotions. Although Shakespeare did not strictly follow
classical rules, his plays continue to move audiences deeply. Dryden writes
that Shakespeare was “naturally learned,” meaning that his genius allowed him
to understand life and human behavior without depending heavily on formal
education.
Dryden also
appreciates Ben Jonson, though in a different way. He considers Jonson more
learned and careful in following classical methods. Jonson’s plays show
discipline and structure, while Shakespeare’s plays show imagination and
emotional richness. Dryden admires both writers and presents a balanced
comparison between them.
A major issue
discussed in the essay is the concept of the three unities: unity of time,
unity of place, and unity of action. These ideas came from classical criticism,
especially from interpretations of Aristotle’s
ideas on drama.
The unity of time
means that the action of a play should occur within twenty-four hours. The
unity of place means that the setting should remain the same throughout the
play. The unity of action means that the play should focus on one central plot
without unnecessary subplots.
French dramatists
strictly followed these rules, but Dryden adopts a moderate position. He
accepts the unity of action as important because it gives coherence to the
play. However, he does not insist on the strict observance of time and place.
According to Dryden, audiences can use imagination and willingly accept changes
in setting and time if the play is emotionally convincing. Therefore, he
believes that dramatic effectiveness is more important than rigid adherence to
rules.
Dryden’s discussion
of tragicomedy is also significant. Classical critics often opposed the mixing
of tragedy and comedy, but Dryden defends it. He argues that tragicomedy
reflects real human life more accurately because life itself contains both joy
and sorrow. By combining serious and comic elements, dramatists can create a richer
and more engaging experience for the audience.
Another important
aspect of the essay is Dryden’s view of the purpose of drama. According to him,
the aim of drama is both to delight and to instruct. Drama should entertain
audiences through plot, character, and language, but it should also teach moral
lessons. This idea follows the classical belief that literature should combine
pleasure with instruction.
Dryden also
discusses the importance of “decorum,” which means that characters should
behave according to their social status and personality. Kings should speak
like kings, and common people should speak in a simpler manner. Proper
characterization makes drama more realistic and believable.
The language and
style of the essay are noteworthy. Dryden writes in clear, elegant, and
conversational prose. Unlike rigid scholarly criticism, his style is flexible
and engaging. His criticism is practical rather than purely theoretical. He
judges literature based on its effect on audiences rather than on abstract rules
alone. Because of this practical approach, Dryden is often called the father of
modern English criticism.
The essay is
important not only for its literary ideas but also for its balanced method of
criticism. Dryden does not blindly support one side. He appreciates classical
discipline while also valuing creative freedom. He admires French orderliness
but ultimately prefers the vitality and richness of English drama. This
balanced attitude gives the essay lasting value.
In conclusion, An Essay of
Dramatic Poesy is a landmark in English literary criticism. Through the
dialogue among different speakers, Dryden discusses major literary issues such
as ancient versus modern literature, French versus English drama, the dramatic
unities, tragicomedy, and the purpose of drama. He supports English drama for
its emotional depth and realistic portrayal of life while also recognizing the
importance of structure and artistic discipline. The essay reveals Dryden’s
intelligence, moderation, and practical critical sense. Even today, it remains
an essential text for understanding Restoration criticism and the development
of English literary theory.
UGC NET MCQs
1. John Dryden is mainly associated with which literary period?
A. Elizabethan Age
B. Romantic Age
C. Restoration Age
D. Victorian Age
Answer:
C. Restoration Age
2. Which work by Dryden is considered a landmark in English literary
criticism?
A. The Defence of Poesy
B. An Essay of Dramatic Poesy
C. Preface to Lyrical Ballads
D. Biographia Literaria
Answer:
B. An Essay of Dramatic Poesy
3. An Essay of Dramatic Poesy is
written in the form of:
A. Epic
B. Dialogue
C. Allegory
D. Ballad
Answer:
B. Dialogue
4. Which character in An Essay of Dramatic
Poesy represents Dryden himself?
A. Crites
B. Eugenius
C. Lisideius
D. Neander
Answer:
D. Neander
5. Which literary debate is central to An
Essay of Dramatic Poesy?
A. Classicism vs Romanticism
B. Ancients vs Moderns
C. Realism vs Symbolism
D. Humanism vs Existentialism
Answer:
B. Ancients vs Moderns
6. Which dramatist is highly praised by Dryden for his natural genius?
A. Christopher Marlowe
B. Ben Jonson
C. William Shakespeare
D. Thomas Kyd
Answer:
C. William Shakespeare
7. According to Dryden, Ben Jonson was known for:
A. Romantic imagination
B. Classical learning and discipline
C. Symbolic drama
D. Metaphysical poetry
Answer:
B. Classical learning and discipline
8. Dryden defended English drama against the criticism of:
A. Italian drama
B. German drama
C. French drama
D. Greek drama
Answer:
C. French drama
9. Which of the following unities did Dryden consider most important?
A. Unity of Time
B. Unity of Place
C. Unity of Action
D. Unity of Character
Answer:
C. Unity of Action
10. Dryden believed that the function of literature is to:
A. Only entertain
B. Only instruct
C. Delight and instruct
D. Challenge religion
Answer:
C. Delight and instruct
11. Which king appointed Dryden as Poet Laureate?
A. James I
B. Charles II
C. Henry VIII
D. William III
Answer:
B. Charles II
12. Which famous satire was written by Dryden?
A. Mac Flecknoe
B. The Rape of the Lock
C. Hudibras
D. Lycidas
Answer:
A. Mac Flecknoe
13. Mac Flecknoe is a satire
directed against:
A. Ben Jonson
B. Thomas Shadwell
C. Alexander Pope
D. Richard Steele
Answer:
B. Thomas Shadwell
14. Which poem by Dryden deals with political allegory during the Exclusion
Crisis?
A. Religio Laici
B. Absalom and Achitophel
C. Annus Mirabilis
D. Astraea Redux
Answer:
B. Absalom and Achitophel
15. In Absalom and Achitophel,
Achitophel represents:
A. Charles II
B. Duke of Buckingham
C. Earl of Shaftesbury
D. James II
Answer:
C. Earl of Shaftesbury
16. Dryden’s Annus Mirabilis
celebrates:
A. The Glorious Revolution
B. The Restoration of Charles II
C. Events of 1666 including the Great Fire of London
D. The defeat of Napoleon
Answer:
C. Events of 1666 including the Great Fire of London
17. Which of the following is a heroic play by Dryden?
A. All for Love
B. Volpone
C. Doctor Faustus
D. The Alchemist
Answer:
A. All for Love
18. All for Love is based on:
A. Greek mythology
B. The story of Antony and Cleopatra
C. Arthurian legend
D. Biblical history
Answer:
B. The story of Antony and Cleopatra
19. Dryden wrote All for Love in:
A. Blank verse
B. Heroic couplets
C. Free verse
D. Spenserian stanza
Answer:
A. Blank verse
20. Which classical critic influenced Dryden greatly?
A. Longinus
B. Horace
C. Aristotle
D. Plato
Answer:
C. Aristotle
21. Dryden is often called the father of:
A. Romantic poetry
B. Modern English criticism
C. Metaphysical poetry
D. Gothic fiction
Answer:
B. Modern English criticism
22. Which work of Dryden discusses religion and faith?
A. Religio Laici
B. Mac Flecknoe
C. The Hind and the Panther
D. Both A and C
Answer:
D. Both A and C
23. The Hind and the Panther is
primarily:
A. A comedy
B. A political satire
C. A religious allegory
D. A pastoral elegy
Answer:
C. A religious allegory
24. Which meter is most associated with Dryden’s poetry?
A. Ballad meter
B. Heroic couplet
C. Terza rima
D. Ottava rima
Answer:
B. Heroic couplet
25. Dryden translated works of:
A. Homer and Virgil
B. Dante and Petrarch
C. Chaucer and Spenser only
D. Milton and Shakespeare
Answer:
A. Homer and Virgil
26. Dryden’s criticism is mainly:
A. Abstract and philosophical
B. Practical and judicial
C. Psychological and symbolic
D. Feminist and Marxist
Answer:
B. Practical and judicial
27. Which statement best describes Dryden’s literary approach?
A. Blind imitation of classical rules
B. Complete rejection of rules
C. Balance between rules and creative freedom
D. Preference only for French drama
Answer:
C. Balance between rules and creative freedom
28. Dryden lost the post of Poet Laureate after:
A. The Restoration
B. The Glorious Revolution
C. The English Civil War
D. The Great Fire of London
Answer:
B. The Glorious Revolution
29. Which of the following statements about Dryden is correct?
A. He was only a dramatist
B. He was only a critic
C. He excelled as poet, dramatist, and critic
D. He wrote only religious poetry
Answer:
C. He excelled as poet, dramatist, and critic
30. Dryden’s prose style is best described as:
A. Obscure and difficult
B. Ornamental and excessive
C. Clear, balanced, and conversational
D. Highly symbolic
Answer: C. Clear, balanced, and
conversational
