essay on dramatic poesy

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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.

Join the conversation

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

This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.

Public domain Public domain false false

AN ESSAY OF DRAMATIC POESY

HENRY FROWDE, M.A.

Publisher to the University of Oxford

LONDON, EDINBURGH, GLASGOW AND NEW YORK

EDITED WITH NOTES

THOMAS ARNOLD, M.A.

OF UNIV. COLL., OXFORD FELLOW OF THE ROYAL UNIVERSITY OF IRELAND

SECOND EDITION

AT THE CLARENDON PRESS

[ All rights reserved ]

PRINTED AT THE CLARENDON PRESS

BY HORACE HART, PRINTER TO THE UNIVERSITY

Preface Dedicatory epistle To the Reader An Essay of Dramatic Poesy A Defence of an Essay of Dramatic Poesy Notes Advertisments

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Analysis of Dryden's Essay of Dramatic Poesy

Introduction to dryden’s ‘essay of dramatic poesy’, salient features of dryden’s critical faculty, preliminary observations of the essay, synopsis of the main arguments of ‘essay of dramatic poesy’, contact form.