John Dryden essay on dramatic poesie
This blog is written as a task assigned by the head of the Department of English (MKBU), Prof. and Dr. Dilip Barad Sir. Here is the link to the professor's blogs for background reading: Click here for further reading.
John Dryden’s Of Dramatic Poesy: The Foundation Stone of English Literary Criticism.
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When Dr. Samuel Johnson called John Dryden “the father of English criticism,” he was recognizing a giant step in the history of English letters. Dryden, a towering figure of the Restoration Age (1631–1700), was not only a prolific poet and dramatist but also the first great English critic to bring together classical principles, modern debates, and practical theatrical knowledge into a single, systematic discussion. His celebrated critical essay Of Dramatic Poesy (1668) is a landmark in the evolution of English criticism, offering a balanced view of literature that is still admired today.
Historical Context
Of Dramatic Poesy was written during the reign of Charles II, after the theatres had reopened following the Puritan ban. The Restoration period was marked by a revival of drama, an exchange of ideas between England and France, and renewed interest in classical rules of literature.
The essay takes the form of a dialogue between four gentlemen—Crites, Eugenius, Lisideius, and Neander—who discuss the merits of Ancient versus Modern literature, French versus English drama, and the use of rhyme versus blank verse in plays. The conversation happens while they sail down the Thames, away from London during the naval battle with the Dutch in 1665—a vivid reminder that art and criticism thrive even in times of national crisis.
Why Dryden is Called the Father of English Criticism
Before Dryden, English criticism lacked structure and systematic reasoning. His contributions were revolutionary because:
He introduced critical dialogue as a method, allowing different viewpoints to be explored without dogmatism.
He balanced respect for tradition with an openness to change.
He brought criticism closer to practical theatre, showing the link between theory and stagecraft.
He made criticism accessible, avoiding overly academic or pedantic language.
Through Of Dramatic Poesy, Dryden proved that criticism could be intelligent, fair, and rooted in the living experience of art—not just in abstract rules.
Dryden as a Neoclassical Critic
Dryden belonged to the Neoclassical movement, which revived classical ideals from Greek and Roman critics like Aristotle and Horace. As a neoclassicist, he believed that:
Literature should delight and instruct (a Horatian ideal).
Drama should imitate life but within a structured framework.
The unities of time, place, and action give a play coherence, though they should not be followed slavishly.
Art must respect decorum, meaning characters should speak and act appropriately to their social status and situation.
However, unlike rigid followers of classical rules, Dryden allowed for English creativity, especially in mixing tragedy and comedy, which French critics often rejected.
The Structure of the Essay
Dryden’s essay unfolds as a series of intellectual debates among four fictional characters:
1. Crites – Defender of the Ancients
He argues that Ancient Greek and Roman writers achieved perfection in drama, following the unities and moral purpose more strictly than moderns. He sees little reason to improve upon what is already ideal.
2. Eugenius – Champion of the Moderns
He counters Crites by pointing out that modern playwrights have learned from the ancients but have also improved in areas like plot complexity and emotional engagement.
3. Lisideius – Advocate of French Drama
He praises French plays for their refinement, clarity, and observance of rules, particularly the unities. French drama, in his view, avoids the chaos of English plays.
4. Neander – Voice of Dryden Himself
Neander defends English drama, especially the works of Shakespeare and Ben Jonson, for their liveliness, variety, and portrayal of human nature. He admits English plays sometimes break the rules but argues they offer richer emotional experiences.
Major Debates in Of Dramatic Poesy
1. Ancients vs. Moderns
Crites upholds the ancients for their discipline and perfection of form. Eugenius responds that while ancients are great, moderns benefit from centuries of accumulated knowledge and can adapt techniques to new audiences.
2. French vs. English Drama
Lisideius prefers the French for their elegance, unity, and clarity. Neander praises English drama for its variety, the mixing of tragic and comic scenes, and its ability to capture the fullness of life. He especially admires Shakespeare for his natural genius.
3. Rhymed Verse vs. Blank Verse
One of the most famous debates in the essay is between Crites and Neander over whether plays should be written in rhymed heroic couplets or blank verse.
Crites: Blank verse is more natural for speech; rhyme can feel artificial.
Neander: Rhyme adds beauty, structure, and memorability to drama, especially in heroic plays.
Dryden’s Definition of a Play
Dryden defines a play as:
“A 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.”
This definition reveals his balanced approach—drama should imitate life, stir emotions, and teach moral lessons while also entertaining.
Dryden’s Departure from the Strict Classical Tradition
Though influenced by Aristotle, Dryden was not a slavish follower:
He valued rules but prioritized audience engagement.
He accepted the English habit of blending genres instead of strictly separating tragedy from comedy.
He allowed flexibility in the unities, seeing them as guidelines rather than rigid laws.
This flexibility makes him a practical critic—grounded in real theatre rather than abstract perfection.
Critical Significance
Of Dramatic Poesy remains important because:
It introduced balanced criticism in English literature.
It preserved the richness of English dramatic tradition while learning from foreign models.
It opened a space for debate instead of rigid enforcement of taste.
It demonstrated that criticism could be a creative and enjoyable art in itself.
Conclusion
John Dryden’s Of Dramatic Poesy is more than a Restoration dialogue—it is a living conversation about literature, one that bridges the gap between the past and the future, rules and freedom, elegance and energy. Dryden’s willingness to weigh opposing views fairly, his combination of classical wisdom with modern innovation, and his vivid, conversational style truly justify Dr. Johnson’s praise. Even today, this essay teaches us that the healthiest literary culture is one where ideas can be tested, challenged, and refined—not dictated.
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