john dryden an essay of dramatic poesy summary

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An Essay of Dramatic Poesy

33 pages • 1 hour read

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Summary and Study Guide

Summary: “an essay of dramatic poesy”.

A treatise staged as a dialogue among learned friends, “An Essay of Dramatic Poesy” defends the state of the 17th-century English theater, the use of rhyme (“poesy”) in dramatic plays, and the work of English writers in general. Its author, John Dryden (1631-1700), was a giant among men of letters during the contentious 17th century. He composed some of the most celebrated plays, poems, and criticism of the era and was appointed Poet Laureate in 1668. He lived through the English Civil War (1642-1651), which saw the execution of a king, the restoration of a king, and, in between, the establishment of a Puritan Interregnum that kept the theaters closed for more than a decade. Throughout all of this upheaval, Dryden rose to prominence with his witty, versatile, and challenging work. All citations in this guide come from John Dryden: Selected Poetry , republished by Penguin Books with a new introduction in 1985.

Dryden wrote “An Essay of Dramatic Poesy” in 1665-1666 during an outbreak of the plague in which London’s theaters were again closed. Four friends—Eugenius, Crites, Lisideius, and Neander—discuss the relative merits of English writing as compared to that of the ancients and the French, among others, while a naval war with the Dutch rages in the background. The friends are traveling on a barge down the river Thames, seeking a vantage point from which they can hear the battle safely. Indeed, it is the sound of cannon fire that initiates the discussion about the quality of English composition. Crites bemoans the fact that, even in the event of victory, they will be punished “in being subject to the reading and hearing of so many ill verses as he [is] sure [will] be made on that subject” (148). Lisideius seconds this objection, adding that some of these glory-hungry poets will be prepared “either way,” so “they can produce not only a panegyric upon the victory, but, if need be, a funeral elegy for the duke” (149).

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Eugenius attempts to defend the prerogatives and talents of the modern writer, but Lisideius and Crites describe the extremes of the bad poets: On the one hand is the easily satirized poet, who employs tortured language in the service of overly inflated emotions; on the other is the educated author, pompously producing poetry that “never disquiets your passions with the least concernment” (150)—verse that bores rather than inspires. Eugenius again rises to the defense: “I cannot think so contemptibly of the age in which I live, or so dishonourably of my own country” (152). Eventually, he convinces his cohort that “our poesy is improved by the happiness of some writers living” (154, emphasis added), but Crites urges the discussion to greater specificity. He wishes to prove that where dramatic poesy (i.e., poetry or verse) is concerned, the ancients—Euripides, Sophocles, Terrance, and the like—created works that are far superior to the output of the moderns. He relies on the three dramatic unities—time, place, and action—for the bulk of his argument, claiming that contemporary English plays break these rules with abandon. If a play is not set within a time frame of 24 hours, in as few places as reasonably possible, with focus on a single overarching plot, then it verges into “unnatural” territory.

Eugenius counters that since the moderns know more of science and philosophy, they are capable of reproducing nature more faithfully than the ancients. He also points out that the ancients recycled the same plots over and over again; thus, “the novelty being gone the pleasure vanished” (165). Besides, Eugenius adds, the ancients often “neglected” the three unities and relied on characters who were little more than caricatures rather than realistic portrayals. He cites the monologue as an “unnatural way of narration” and critiques the ancients’ often “abstruse” use of language (168). Crites concedes some points to Eugenius, so Lisideius steers the discussion in a different direction, asking the group to consider how the modern English theater fares in comparison to the plays produced on the continent.

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He goes on to argue that the French “have best observed” the “rules of the stage” (175), while the English have become too fond of the “tragi-comedy,” which he likens in absurdity akin to Bedlam, the infamous mental institution in London. He also argues that the English are too accommodating of battle scenes and death blows on the stage, which he claims offend the audience’s sensibilities and reason. These matters “ought either wholly to be avoided by a poet, or only delivered by narration” (184). Finally, he defends “the beauty of their [continental] rhyme” in comparison to the English (185).

Neander heartily defends the English theater against the French, which lacks “the soul of poesy, which is imitation of humour and passions” (187). He defends the tragicomedy as a balanced work of art, between gravity and merriment; indeed, he declares that it is the highest achievement yet seen on the stage. Further, the English theater adheres to the unities when necessary and prudent, straying from them when originality demands. Thus, complexity, originality, and boldness are valued, in Neander’s view. He defends both Shakespeare—who routinely disobeyed the rules of unity in his well-regarded plays—and Ben Jonson, whose play The Silent Woman Neander uses as an example of the perfection of English drama.

Finally, Crites wonders whether an underlying assumption—that rhyme is appropriate for the composition of plays—is legitimate. His argument is that “a play is the imitation of nature; and since no man without premeditation speaks in rhyme, neither ought he to do it on stage” (209). Neander responds with an impassioned defense of verse in dramatic plays (he concedes that it has no place in comedy), arguing again for flexibility—“no poet need constrain himself at all times to it” (216)—and originality. He agrees that a play should be “the representation of nature” but claims that using verse creates “a nature wrought up to an higher pitch” (218). Far from detracting from theater, poesy elevates drama to the heroic level of an epic poem. Neander concludes that the best authors, having judgment , will employ the best verse in the most appropriate circumstances. Neander has been so eagerly engaged in his response that he has not noticed that the barge has come to its landing point; the four companions disembark and go their separate ways.

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An Essay of Dramatic Poesy Summary & Analysis by John Dryden

Introduction

Criticism flourished in England during the restoration of Stuarts. An Essay of Dramatic Poesy deals with the views of major critics and the tastes of men and women of the time of Dryden.

The work is in the form of semi-drama thus making abstract theories interesting. In the late 17th century, Shakespeare was severely criticised for his careless attitude towards the mixing of genres. It was Dryden who elevated Shakespeare to height for his natural genius.

The narrative of  An   Essay of Dramatic Poesy  has four debaters among whom, Neander is the one who holds the views of Dryden. Unlike other characters, Neander does not diminish the arguments that are on contrary to his views. Though he himself favours modern drama, he does not blame others.

The beginning of the narrative An   Essay of Dramatic Poesy or Of Dramatic Poesie is as follows. A battle is going on between England and the Netherlands.

Four gentlemen namely Crites, Eugenius, Lisideius and Neander are travelling by boat to see the battle and start a discussion on modern literature. 

Crites opens the discussion by saying that none of his contemporaries (i.e. moderns) can equal the standards and the rules set by ancient Greeks and Romans. Eugenius restrains him from wasting time on finding demerits. He asks him to find relative merit in Greeks and Moderns.

Views of Crites

Crites favours classical drama i.e. the drama of Aristotle who believed that drama is �imitation of life� . Crites holds that drama of such ancients is successful because it depicts life. He says that both classical and neoclassical favour rules and unities ( time, place and action) . 

According to Crites, modern dramatists are shadows of Aeschylus, Sophocles, Seneca and Terence. E.g. Elizabethan dramatist Ben Jonson borrowed from Classics and felt proud to call himself modern Horace.  The classical is more skilful in language than their successors. At this, he ends up his conversation.

Views of Eugenius

Eugenius favours modern dramatists. However, instead of telling about the virtues of moderns, he criticises the faults of Classical playwrights. According to him, the Classical drama is not divided into acts and also lacks originality. 

Their tragedies are based on worn-out myths that are already known to the audience and their comedies are based o overused curiosity of stolen heiresses and miraculous restorations.

There disregard poetic justice. Instead of punishing the vice and rewarding the virtue, they have often shown prosperous wickedness and an unhappy devotion.  The classical drama also lacks affection.

The Heroes of Homer were lovers of appetite, food etc, while the modern characters of French drama gave up everything ( sleep, water and food ) for the sake of love.

Views of Lisideius

Lisideius favours French drama of earlier 17th century. French drama led by Pierre Corneille strictly followed unities of time, pace and action.  The French dramatists never mix tragedy and comedy.

They strictly adhere to the poetic justice i.e. reward the virtue and punishment the vice. For this, they even alter the original situation.

The French dramatists interweave truth with fiction to make it interesting bringing elements that lead to fate and borrow from history to reward the virtuous which he was earlier deprived of.  

They prefer emotions over plots. Violent actions take place off stage and are told by messengers rather than showing them in real.

Views of Neander

Neander contradicts Lisideius� arguments favouring the superiority of French drama. He talks about the greatness of Elizabethans. For him, Elizabethans fulfil the drama�s requirement i.e. imitation of life.

French drama raises perfection but has no soul or emotions as it primarily focuses on the plot.  For Neander, tragicomedy is the best form of drama. Both sadness as well as joy are heightened and are set side by side. Hence it is closest to life.

He believes that subplots enrich the drama. This French drama having a single plot lacks this vividness.  Further Samuel Johnson ( who defended Shakespeare�s disregard of unities ), he believes that adherence to unities prevents depth.

According to him, deviation from set rules and unities gives diverse themes to drama.  Neander rejects the argument that change of place and time diminishes dramatic credibility in drama.

For him, human actions will seem more natural if they get enough time to develop. He also argues that Shakespeare is �the man who of all the modern and perhaps ancient poets, and largest and most comprehensive soul” . 

Francis Beaumont and John Fletchers� dramas are rich in wit and have smoothness and polish in their language.

Neander says, �I am apt to believe the English language in them arrived at its highest perfection� . If Ben Jonson is a genius for correctness, Shakespeare excels him in wit.  

His arguments end with the familiar comparison, �Shakespeare was the Homer, or father of our dramatic poets; Jonson was the Virgil, the pattern of elaborate writing; I admire him, but I love Shakespeare.�   

Thus for him, Elizabethans are superior because they have a variety of themes, emotions, deviations, wit. They do not adhere to rules as well. Thus their drama is really an imitation of life.

Views on Rhyme in Drama

At the end of the discussion, there is an argument between Crites and Neander over rhyme in plays. Crites believes that Blank Verse as the poetic form nearest to prose is most suitable for drama.  

On the other hand, Neander defends rhyme as it briefly and clearly explains everything.  The boat on which they all were riding reaches its destination, the stairs at Somerset House and the discussion ends without any conclusion being made.

Read about Dryden’s Criticism in Literature

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An Essay of Dramatic Poesy by Dryden: Summary & Key Points

Introduction

• John Dryden wrote "An Essay of Dramatic Poesy" in 1668 to explore and defend the qualities of English drama against the rigid guidelines of French neoclassicism .
• The essay is structured as a lively conversation among four characters: Eugenius , Crites , Lisideius , and Neander , who represent different perspectives on dramatic poetry.
• These characters debate the value and form of English theatre , its creative liberties, and its distinction from French traditions.

Key Themes in the Essay

• Diversity and Freedom: Dryden defends English drama for its flexibility and diversity, contrasting it with the restrictive nature of French plays that strictly follow the unities of time, place, and action .
• Verse versus Prose: He argues for the use of verse in drama, particularly in tragedies, for its sophistication and emotional resonance, while acknowledging the value of prose in comedies for its natural depiction of daily life.
• Tragicomedy: Dryden supports the genre of tragicomedy , which blends tragedy and comedy to present a more balanced and relatable portrayal of human experiences.
• Comparison of Playwrights: He compares the works of Shakespeare with modern French playwrights like Pierre Corneille and Jean Racine , praising the emotional depth and creativity in English plays despite their divergence from classical norms.

Historical and Social Context

• The essay was written during the Restoration Era (1660-1688), a time of cultural revival following the political turmoil of Oliver Cromwell's puritanical rule.
• English drama flourished as the monarchy, under King Charles II , encouraged artistic exploration, contrasting with the French emphasis on strict adherence to neoclassical ideals.
• French Influence: Neoclassical principles, inspired by Aristotle , dominated French theatre, emphasizing rules like the unities for coherence and logical storytelling.

Dryden’s Arguments and Perspectives

1. diversity in drama.

• Dryden praises English theatre for embracing multiple genres, such as tragedy , comedy , masque , and tragicomedy , offering a rich variety for audiences.

2. The Unities

• Dryden critiques the strict adherence to the unities of time, place, and action , arguing for a broader scope in storytelling to enhance creativity and narrative depth.
• He believes dramatic works can span more time and occur in diverse settings without losing coherence, enriching the theatrical experience.

3. Preference for Verse

• Dryden favors the use of verse for its rhythmic elegance and ability to convey elevated emotions, particularly in tragedies.
• However, he also acknowledges the effectiveness of prose in comedies, where natural dialogue can better depict everyday life.

4. Shakespeare’s Brilliance

• While Dryden critiques Shakespeare for disregarding the unities and indulging in excessive wordplay, he recognizes Shakespeare's unparalleled ability to evoke emotions and explore universal themes.

5. Tragicomedy

• Dryden appreciates tragicomedy for its ability to blend elements of sorrow and humor, creating a more authentic reflection of human life compared to pure tragedy.

Character Perspectives

1. eugenius.

• Represents Dryden’s voice and advocates for the freedom and creativity in English drama, opposing the rigid French traditions.
• Embodies the perspective of Sir Robert Howard and critiques English drama for its perceived lack of structure, favoring the French neoclassical approach.

3. Lisideius

• Champions the French tradition, extolling its adherence to Aristotelian unities and structured elegance.
• Represents Sir William Davenant , advocating for a balanced approach that appreciates the strengths of both French and English dramatic traditions.

Comparing English and French Traditions

1. freedom versus restriction.

• English drama is celebrated for its creative liberties and emotional authenticity, contrasting with the French focus on order and precision.

2. Emotional Depth

• Dryden highlights the English theatre's ability to evoke a broader range of emotions by blending tragic and comic elements.

3. Naturalism

• English playwrights are praised for their realistic depiction of human nature, whereas French plays often prioritize idealized characters and scenarios.
• Dryden's "An Essay of Dramatic Poesy" defends the artistic value of English drama , emphasizing its diversity, emotional depth, and innovative spirit.
• The essay reflects the dynamic debates of the Restoration Era and remains a cornerstone of English literary criticism, showcasing the evolving perspectives on dramatic art.

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An Essay Of Dramatic Poesy Summary By John Dryden

An Essay on Dramatic Poesy’ was written with a deliberate purpose for vindicating the English drama from Shakespeare downwards against the unjust censure of those who were disposed to condemn it on the score of its violation of the French neo-classical rules. The aim was patriotic and the tone, here and there, is patently enthusiastic but the defense is based on sound and convincing reason. The very opening of Neander’s defense (and Neander is Dryden himself) strikes the key-note of the entire attitude which runs through the whole argument: ‘I shall grant Lisideius, without much dispute a great part of what he has urged against us: for I acknowledge, that the French contrive their plots more regularly, and observe the law of comedy and decorum of the stage with more exactness than the English. Further, I deny not that he taxed us justly in some irregularities of ours; yet after all, I am of opinion that neither our faults nor their virtues are considerable enough to place them above us.”

Then as the argument proceeds he clearly brings out the serious limitations of the French drama which arises from the exact observance of the three dramatic unities. To support his stand he quotes the remark of Corneille one of the great pillars of the French drama, to the effect that only a practicing dramatist can realize how many beauties he is constrained to keep out of his play in his anxiety to remain faithful to the requirements of the unities.

Thus the French only one action, consisting only of the most essential incidents which are logically and necessarily connected each to each. The result is an utter barrenness springing from the slightness of the plot, and the exclusion of the tumult, noise, violence and energy of life. The English dramatists introduce an underplot engaging a number of subsidiary figures; they bring events of a longer time within the compass of the play, and mix together passion and mirth in one and the same play. The variety resulting from the joint position of the diversity of events and emotions, if skillfully managed, is not incompatible with the larger unity of the whole and at the same time it is conducive to the richness and vitality of life represented in the play.

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Again the brief compass of the French regular plot obliges the dramatist to concentrate on the character and affairs of the central figure in the play, while other characters have to be sketched slightly or left out altogether in the stage of moving puppets. But in irregular Shakespeare as well as in regular Jonson the English can point to a large variety of characters apart from the protagonist who shine in the light of life unborrowed of the central luminary round which they are grouped.

The defenders of the French drama have argued that the reduction of the multiplicity of events in the plot has provided the dramatists ampler space for poetry and elaborate delineation of passion. But Dryden rightly confesses that their verses are coldest, because their speeches are so many declamations which tire the ear but leave the heart untouched. It is an undeniable fact that short speeches and replies are more apt to move the passions and beget concernment in us than long declamations; for it is unnatural for any one in a gust of passion to speak long together, or for another in the same condition to suffer him, without interruption.”

The definition of a play is a lively imitation of nature of which external events are the body, and passions and humours are the soul. The beauties we find in the regular French plays are the beauties of a statue not a living man. For the warmth of real passion is lacking in them.

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