John Dryden’s “Essay of Dramatic Poesy” (1668) is a landmark work in English literary criticism. Written in the form of a dialogue between four speakers, it explores the nature of drama and debates the merits of classical, French, and English theater. Dryden uses this essay to define what a play is and to defend English drama, particularly the use of rhyme and the mixing of tragedy and comedy. It laid the foundation for modern dramatic theory. The following essays are written for students from Class 1 to Class 12.
Essay on Dramatic Poesy in 100 Words
“An Essay of Dramatic Poesy” is a famous work by John Dryden. It was written in 1668. The essay is a conversation between four friends on a boat. They talk about plays and theater. They debate which plays are better: the old Greek ones or the new English ones.
The main speaker, Neander, represents Dryden himself. He argues that English plays are the best because they are lively and natural. He praises William Shakespeare as a great writer. The essay teaches us that a play should be a “just and lively image of human nature.” It is a very important text for studying literature.
Essay on Dramatic Poesy in 150 Words
John Dryden’s “Essay of Dramatic Poesy” is a critical masterpiece written during the Restoration period. It is set on a barge on the River Thames. Four characters—Crites, Eugenius, Lisideius, and Neander—discuss the rules of drama.
The essay covers three main debates. First, it asks if the Ancient writers (Greeks and Romans) were better than the Moderns. Second, it compares French drama to English drama. Third, it discusses whether plays should be written in rhyme or blank verse.
Dryden uses the character Neander to speak his own views. Neander defends English drama, saying it is more exciting and realistic than the strict French style. He loves the “variety” in English plays, like mixing funny and sad scenes. He calls Shakespeare the man with the “largest and most comprehensive soul.” The essay establishes the principles of modern English criticism.
Essay on Dramatic Poesy in 200 Words
“Of Dramatic Poesy: An Essay” by John Dryden is a cornerstone of literary criticism. Published in 1668, it defends English drama against the strict rules of classical and French theater. The essay is written as a dialogue, which allows Dryden to present different viewpoints without being biased.
The four speakers are Crites, Eugenius, Lisideius, and Neander. Crites supports the ancient classical drama. Eugenius argues that modern writers have improved upon the ancients. Lisideius prefers French plays because they follow the “Three Unities” of time, place, and action very strictly.
Neander, who represents Dryden, argues for the English style. He admits the French are neat and orderly, but he finds their plays boring and lifeless like statues. He argues that English plays, especially those by Shakespeare and Fletcher, are lively and full of spirit. He defends “tragi-comedy,” which mixes sadness and humor, saying it reflects the reality of life.
The essay also touches on the use of rhyme in plays. While Crites dislikes rhyme, Neander argues that rhyme adds beauty to a play if used correctly. This work helped establish English drama as a respected art form.
Essay on Dramatic Poesy in 250 Words
John Dryden’s “Essay of Dramatic Poesy” is a vital document in the history of English literature. It was written shortly after the theaters in England were reopened following the Puritan ban. The essay attempts to define what makes a good play and to justify the English style of writing.
The definition of a play given in the essay is famous: “A just and lively image of human nature, representing its passions and humours, and the changes of fortune to which it is subject, for the delight and instruction of mankind.”
The debate takes place among four friends floating on the Thames. Crites champions the Ancients, arguing they created the rules of drama. Eugenius counters that the Moderns have corrected the Ancients’ mistakes. Lisideius argues for the French theater, which strictly followed the unities of Time (24 hours), Place (one location), and Action (one plot).
Neander (Dryden) offers the final and strongest argument. He defends the English tradition of having subplots and changing locations. He argues that strictly following rules can kill the creativity of a play. He praises Shakespeare for his natural genius, saying he did not need spectacles to read nature; he looked inwards and found her there.
Neander also defends the use of rhyme in serious plays, arguing that it elevates the language. The essay is a declaration of independence for English writers, encouraging them to follow their own path rather than copying the French or Greeks.
Essay on Dramatic Poesy in 300 Words
“An Essay of Dramatic Poesy” by John Dryden is perhaps the best-known piece of Restoration criticism. It deals with the major issues of drama that critics were debating in the late 17th century. The essay is unique because it is a dialogue, showing that Dryden was open to different ideas and willing to explore all sides of an argument.
The Battle of the Ancients and Moderns
The first part of the essay debates whether the ancient Greeks and Romans are superior to modern writers. Crites argues that the Ancients set the standard and we should just follow them. Eugenius disagrees, saying that modern writers have the advantage of history and science, allowing them to portray nature better.
The Three Unities
A major point of conflict is the “Three Unities”—the idea that a play must happen in one day, in one place, and have one main story. The French theater (defended by Lisideius) followed these rules strictly. Neander, representing the English view, argues that these rules make plays unrealistic and boring. He believes that English plays, which span longer times and have subplots, are more entertaining and lifelike.
Defense of Shakespeare and Jonson
Dryden uses this essay to canonize Shakespeare and Ben Jonson. He calls Shakespeare the “Homer” of English writers, praising his natural ability to show human emotion. He praises Jonson for his “art” and structure. This comparison helped cement their status as the giants of English literature.
Conclusion
The essay concludes with a debate on rhyme. While there is no clear winner declared in the text, Neander’s arguments for the richness and variety of English drama leave the strongest impression. The essay urges writers to aim for delight and instruction, valuing the “lively” image of life over cold, strict rules.
Essay on Dramatic Poesy in 500 Words
John Dryden’s “Essay of Dramatic Poesy,” published in 1668, is a foundational text in literary criticism. It captures the vibrant intellectual atmosphere of the Restoration era. The essay is framed as a conversation among four friends—Eugenius, Crites, Lisideius, and Neander—as they travel by barge on the River Thames. In the background, the sounds of the English and Dutch navies fighting can be heard, symbolizing a struggle for cultural dominance just as there was a struggle for naval dominance.
The Definition of a Play
The group first agrees on a definition of a play: it is a “just and lively image of human nature.” This sets the stage for the debate. A play must not only be accurate (just) but also entertaining (lively). The goal is to delight and instruct the audience.
Ancients vs. Moderns
Crites opens the debate by favoring the Ancients (Greeks and Romans). He argues that they invented the rules of drama, such as the Unities, and that modern writers are merely poor imitators. Eugenius responds by acknowledging the greatness of the Ancients but arguing that they had flaws. He points out that modern writers have improved on the Ancients’ structures and have a better understanding of nature and science.
French vs. English Drama
Lisideius then speaks for the French tradition. At that time, French theater was considered the height of culture in Europe. He praises the French for their strict adherence to the Three Unities (Time, Place, Action). He argues that their plays are coherent and believable because they don’t jump around in time or place.
Neander (Dryden) counters this with a passionate defense of English drama. He argues that the French plays, while perfect in structure, are cold and lifeless. He says they are like statues—beautiful but dead. In contrast, English drama, with its subplots and variety, captures the chaos and beauty of real life. He famously defends “Tragi-comedy” (mixing sad and funny scenes), which the French hated. Neander argues that life itself is a mix of joy and sorrow, so drama should reflect that.
The Greats: Shakespeare and Jonson
Neander uses the examples of Shakespeare, Beaumont, Fletcher, and Jonson to prove his point. He describes Shakespeare as having a natural, intuitive understanding of the world. He says Shakespeare “needed not the spectacles of books to read nature; he looked inwards, and found her there.” He contrasts this with Ben Jonson, whom he admires for his discipline and correctness.
Rhyme vs. Blank Verse
The final debate is about the use of rhyme in plays. Crites argues that rhyme is unnatural; people do not speak in rhyme in real life. Neander argues that a play is already an artistic representation of life, not life itself. Therefore, rhyme adds a layer of beauty and dignity to the tragedy, making it more effective.
In conclusion, Dryden’s essay is a defense of the English spirit. It argues that art should not be bound by rigid rules if those rules stop it from being lively and moving.
Essay on Dramatic Poesy in 1000 Words
John Dryden’s *Of Dramatic Poesy: An Essay* (1668) is widely regarded as the first major piece of formal literary criticism in English. Written during a time of great cultural and political change—the Restoration of the monarchy under Charles II—the essay attempts to define the identity of English theater. The theaters, which had been closed for nearly two decades by the Puritans, had just reopened. Writers and critics were struggling to decide what kind of plays they should write. Should they copy the ancient Greeks? Should they imitate the polished French style? Or should they return to the native English style of Shakespeare and Jonson? Dryden addresses all these questions in this masterful dialogue.
The Setting and Form
Dryden creates a dramatic setting for his criticism. The essay is not a dry lecture but a lively conversation. Four friends take a barge trip down the River Thames to listen to the distant sounds of the cannon fire from the Second Anglo-Dutch War. This setting is symbolic. Just as the English navy is fighting for control of the seas, the English poets are fighting for cultural superiority in Europe.
The four speakers represent real people of Dryden’s time:
- Crites (Sir Robert Howard): Represents the defense of the Ancients.
- Eugenius (Charles Sackville): Represents the defense of the Moderns.
- Lisideius (Sir Charles Sedley): Represents the defense of French drama.
- Neander (John Dryden): Represents the defense of English drama.
The Definition of Drama
Before the debates begin, Lisideius offers a definition of a play which everyone accepts: “A just and lively image of human nature, representing its passions and humours, and the changes of fortune to which it is subject, for the delight and instruction of mankind.”
This definition is crucial. It balances “just” (accurate/realistic) with “lively” (entertaining/spirited). It also establishes the dual purpose of art: to please and to teach.
Argument 1: The Ancients vs. The Moderns
Crites argues that the Ancient Greeks and Romans (like Aristotle, Sophocles, and Terence) perfected drama. They established the “Unities”—the rules that a play must have one plot, happen in one place, and occur within 24 hours. Crites believes modern writers should strictly follow these rules to achieve greatness.
Eugenius counters that while the Ancients were great, they were not perfect. He points out that they often lacked poetic justice (bad guys getting punished) and that their female characters were often poorly written. Eugenius argues that modern writers have the benefit of accumulated knowledge. They can stand on the shoulders of the Ancients and see further. This argument reflects the scientific optimism of the 17th century.
Argument 2: French vs. English Drama
This is the heart of the essay. Lisideius praises the French theater (such as the works of Corneille). He admires their strict adherence to the Unities. French plays, he argues, are logical. You don’t have a character in Asia in Act 1 and Africa in Act 2. You don’t have a battle taking place on a tiny stage. The French style is neat, dignified, and unbroken by “low” comedy.
Neander (Dryden) responds with a patriotic and aesthetic defense of English theater. He admits the French are more “correct” and follow the rules better. However, he argues that this correctness comes at a cost. French plays, to Neander, are cold and boring. He says their long speeches make them passionate but lifeless.
Neander champions the “variety” of English drama. He defends Tragi-comedy, a distinctly English genre that mixes serious tragedy with comic relief. While the French critics called this a “monster,” Neander argues it is more true to life. Human life is not all sad or all happy; it is a mixture. Therefore, a play that mixes them gives a more “just and lively” image of nature.
The Assessment of Shakespeare and Jonson
Neander supports his argument by comparing two English giants: William Shakespeare and Ben Jonson.
He describes Shakespeare as the poet of nature. Shakespeare had an instinct for human emotion. He didn’t follow the rules of the Ancients, but he didn’t need to because he understood the human heart perfectly. Neander famously writes of Shakespeare: “He was the man who of all modern, and perhaps ancient poets, had the largest and most comprehensive soul.”
He describes Ben Jonson as the poet of art. Jonson followed the rules. He was learned, careful, and correct. Neander admires Jonson but loves Shakespeare. This distinction between “Art” (rules/discipline) and “Nature” (genius/instinct) became a major theme in later criticism.
Argument 3: Rhyme vs. Blank Verse
The final debate is technical. Crites argues that plays should be written in blank verse (unrhymed meter) because it sounds like natural speech. Rhyme, he says, feels fake and destroys the illusion of reality.
Neander disagrees. He argues that a tragedy is already an elevated reality. It is not a conversation on the street. Therefore, rhyme is appropriate because it adds grandeur and dignity to the subject matter. It gives the play a polish that blank verse lacks. (It is worth noting that later in his career, Dryden actually switched back to blank verse, admitting it was better for drama, but in this essay, he defends rhyme).
Conclusion
The dialogue ends without a formal winner. The barge arrives at Somerset Stairs, and the friends part ways. However, the weight of the argument clearly rests with Neander. Dryden succeeds in establishing that English drama, with its freedom, variety, and energy, is superior to the rigid, rule-bound drama of the French or the Ancients.
The “Essay of Dramatic Poesy” is a declaration of cultural independence. It taught English critics to value their own writers not for following foreign rules, but for capturing the spirit of life itself. It remains a masterclass in how to discuss art with respect, logic, and passion.
FAQ
What is the main theme of the Essay of Dramatic Poesy?
The main theme is the defense of English drama. It debates whether English plays are better than Ancient or French plays. It focuses on the importance of representing human nature in a lively and realistic way.
Who are the four speakers in the essay?
The four speakers are Crites (representing the Ancients), Eugenius (representing the Moderns), Lisideius (representing the French style), and Neander (representing the English style and Dryden himself).
What definition of a play does Dryden provide?
Dryden defines a play as “A just and lively image of human nature, representing its passions and humours, and the changes of fortune to which it is subject, for the delight and instruction of mankind.”
Why does Neander prefer Shakespeare over Ben Jonson?
Neander prefers Shakespeare because of his natural genius and his “comprehensive soul.” He respects Jonson for his art and discipline, but he loves Shakespeare for his ability to capture life and emotion without needing strict rules.
