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An Essay of Dramatic Poesy
An Essay of Dramatic Poesy
BY JOHN DRYDEN
Though he died in 1700, John Dryden is usually considered a writer of the 18th rather
than the 17th century. Incredibly prolific, Dryden made innovative advances in
translation and aesthetic philosophy, and was the first poet to employ the neo-classical
heroic couplet and quatrain in his own work. Drydens influence on later writers was
immense; Alexander Pope greatly admired and often imitated him, and Samuel Johnson
considered him to have refined the language, improved the sentiments, and tuned the
numbers of English poetry. In addition to poetry, Dryden wrote many essays, prefaces,
satires, translations, biographies (introducing the word to the English language), and
plays. An Essay of Dramatic Poesy was probably written in 1666 during the closure of
the London theaters due to plague. It can be read as a general defense of drama as a
legitimate art formtaking up where Sir Philip Sidneys Defence of Poesie left offas
well as Drydens own defense of his literary practices. The essay is structured as a
dialogue among four friends on the river Thames. The group has taken refuge on a
barge during a naval battle between the English and the Dutch fleets. The four
gentlemen, Eugenius, Crites, Lisideius, and Neander (all aliases for actual Restoration
critics and the last for Dryden himself), begin an ironic and witty conversation on the
subject of poetry, which soon turns into a debate on the virtues of modern and ancient
writers. While imitation of classical writers was common practice in Drydens time, he
steers the groups conversation towards dramatic poetry, a relatively new genre which
had in some ways broken with classical traditions and was thus in need of its own
apologia. The group arrives at a definition of drama: Lisideius suggests that it is a just
and lively Image of Humane Nature. Each character then speaks in turn, touching on
the merits of French and English drama, continuing the debate over ancient versus
modern writers, and discussing the value of the Unities or rules of French drama.
While French plays hew closer to classical notions of drama (adhering to the unities of
time, place and action), Neander steps in to support English drama precisely because of
its subplots, mixture of mirth and tragedy (in tragicomedy), and spirited, multiple
characters. Drawing on Platonic dialogues for inspiration, Drydens characters present
their opinions with eloquence and sound reasoning. The group discusses playwrights
such as Ben Jonson, Molire, and Shakespeare with great insight, and has a final
debate over the suitability of rhyme to drama. Crites objects to the use of rhyme
because he believes it detracts from the verisimilitude of the scene, and cites Aristotle;
Neander suggests a natural rhyme to serve the plays meaning can add to its artistry.
During this final speech, the barge docks at the Somerset-Stairs, and the four friends go
their separate ways, content with their evening.