Wednesday, September 3, 2025

John Dryden – An Essay of Dramatic Poesie

1. Introduction – Why Dryden Matters


When we look at the history of English literature, John Dryden stands as one of the most important figures of the seventeenth century. He is often called the father of English literary criticism, because he was the first to write systematic, thoughtful, and balanced discussions about literature in the English language. Before Dryden, criticism was scattered and less formal. With Dryden, criticism became an art in itself.

His most famous critical work, An Essay of Dramatic Poesy (1668), is a landmark in the history of English criticism. It is not only a defence of English drama but also a comparative study of different traditions of literature—the Ancients and the Moderns, the French and the English. What makes this essay special is that Dryden writes it in the form of a dialogue among four characters, which makes it lively and engaging rather than dry theory.

John Dryden


This blog will first give a short background of Dryden’s life, then explain the main ideas of An Essay of Dramatic Poesy. It will also discuss the differences between Aristotle’s definition of tragedy and Dryden’s definition of play, examine the debate between Ancients and Moderns, compare French and English plays, and reflect on the value of poetic vs. prosaic dialogue. Finally, it will connect Dryden’s ideas to modern literary discussions.

2. Who Was John Dryden?

 Dutch. These four characters represent different critical positions:

John Dryden (1631–1700) was a poet, dramatist, translator, and above all, a critic. He lived during a period of great political and cultural change in England. The Civil War, the execution of Charles I, the Commonwealth under Cromwell, and the Restoration of Charles II all shaped Dryden’s times.

  • Dryden was educated at Westminster School and Trinity College, Cambridge.

  • After the Restoration in 1660, he became the leading poet and playwright of his generation.

  • He wrote tragedies, comedies, heroic plays, odes, translations, and critical essays.

  • In 1668, he was appointed Poet Laureate of England.

  • His influence was so strong that the late seventeenth century is often called “The Age of Dryden.”

Dryden’s versatility is seen in his works. As a dramatist, he experimented with different forms like heroic plays and tragedies. As a poet, he wrote both political satire (Absalom and Achitophel) and reflective verse (Annus Mirabilis). As a critic, he was the first Englishman to explain systematically what makes good literature.

Above all, An Essay of Dramatic Poesy (1668) shows him not only as a critic but also as a mediator between classical traditions and modern innovations.

3. Background of An Essay of Dramatic Poesy

The essay was written during the Great Plague of London (1665), when theatres were closed. Dryden used this period to reflect on drama and criticism. It was published in 1668.

The essay is written as a dialogue between four friends who take a boat ride on the River Thames after a naval battle between the English and the

  1. Crites – Defender of the Ancients (Greek and Roman writers).

  2. Eugenius – Supporter of the Moderns, who praises recent English drama.

  3. Lisideius – Advocate of French drama, with its strict rules of unity and order.

  4. Neander – The spokesman of Dryden himself, who supports English drama while respecting both Ancients and Moderns.

This lively conversation format makes the essay more than a dry treatise. It shows criticism as an exchange of ideas, full of arguments, counterarguments, and witty examples.

4. Structure and Main Arguments of the Essay

The essay covers several key debates:

  • Ancients vs. Moderns – Which is better, the classical writers or the new ones?

  • French vs. English drama – Which tradition is superior?

  • Rules vs. Freedom – Should plays strictly follow rules of unity, or should they reflect the complexity of life?

  • Poetic vs. Prosaic dialogue – Which form of expression is more suitable for drama?





Dryden does not reject any one side completely. He finds value in both. But he leans towards English drama, because it combines seriousness with variety, and mirrors human life in a more complete way.

showing controvercy:


5. Aristotle’s Definition of Tragedy vs. Dryden’s Definition of Play

One of the academic tasks of this Bridge Course is to compare Aristotle’s definition of tragedy with Dryden’s definition of play.

Aristotle’s Definition of Tragedy

In his Poetics, Aristotle defines tragedy as:

“The imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, in the form of action, not narrative, with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions.”

 

Key points:

  • Tragedy is imitation of serious action.

  • It must be complete and have unity.

  • It must arouse pity and fear to bring about catharsis (emotional cleansing).

  • The tragic hero usually has a flaw (hamartia) leading to downfall.

Dryden’s Definition of Play

In An Essay of Dramatic Poesy, Dryden gives a broader definition:

“A play is a just and lively image of human nature, representing its passions and humours, and the changes of fortune to which it is subject.”

 

Key points:

  • A play mirrors human nature.

  • It represents passions, behaviours, and social life.

  • It includes both tragedy and comedy.

  • Its aim is not only to delight but also to teach moral lessons.


Major Differences

  1. Scope – Aristotle limits his definition to tragedy, while Dryden includes all kinds of drama.

  2. Focus – Aristotle emphasizes plot and catharsis; Dryden emphasizes character and dialogue.

  3. Purpose – Aristotle sees tragedy as moral purification; Dryden sees drama as a reflection of life that both entertains and teaches.

Thus, Aristotle’s definition is narrower and classical, while Dryden’s is broader and modern.

6. Ancients vs. Moderns – My Preference

Another debate in the essay is whether the Ancients (Greek and Roman writers) or the Moderns (recent English dramatists) are superior.


  • The Ancients are praised for discipline, unity, and artistic order. They believed in rules that maintained harmony. Their works like Sophocles’ Oedipus Rex or Euripides’ Medea follow strict structure and create deep emotional impact.

  • The Moderns, represented by Shakespeare, Ben Jonson, and Fletcher, are admired for freedom, creativity, and variety. They broke some classical rules but created more realistic, lively characters and situations.

    A debate:


My Preference: A Middle Path

Personally, I would choose a balance between the two. The Ancients give us discipline and timeless principles, while the Moderns give us freshness and human depth. The best drama combines the structure of the Ancients with the creativity of the Moderns.

7. French Plays vs. English Plays

Dryden also compares French and English drama.

  • French Drama (Corneille, Racine, Molière):

    • Follows rules of three unities (time, place, action).

    • Avoids mixing comedy and tragedy.

    • More elegant, refined, and polished.

    • Presents death and duels offstage, keeping dignity and decorum.

  • English Drama (Shakespeare, Fletcher, Jonson):

    • Breaks the rules of unity, with multiple plots and shifts in time and place.

    • Mixes tragic and comic elements.

    • Shows duels, battles, and deaths on stage for greater impact.

    • Rich in variety, passion, and complexity.


Dryden’s View

Dryden admires the polish of French plays but supports the vitality of English drama. He believes English plays capture the fullness of human life, with all its seriousness and laughter, grandeur and weakness.

8. Poetic vs. Prosaic Dialogue

A final key debate is whether plays should be written in poetry or prose.

  • Prose: Offers naturalness and realism. Characters sound like ordinary people.


  • Poetry    : Elevates emotions, gives rhythm and beauty, makes the dialogue memorable.

Dryden prefers poetic dialogue, because it brings drama closer to art. Yet, he also accepts prose in certain situations where realism is needed. For him, the ideal play should use poetry but remain close to natural expression.

9. Relevance of Dryden’s Ideas Today

Although written in the seventeenth century, Dryden’s essay is still relevant:

  • The debate between rules and freedom continues in modern art and literature.

  • The question of whether literature should teach or just entertain is still discussed today.

  • The comparison between classical traditions and modern experiments shapes literary criticism even now.

  • His idea that drama is a mirror of human nature still defines our understanding of literature.

10. Conclusion

John Dryden’s An Essay of Dramatic Poesy is more than a defence of English drama—it is a landmark in literary criticism. Through a lively dialogue, Dryden compares the Ancients and Moderns, French and English plays, rules and freedom, prose and poetry.

  • Aristotle saw tragedy as the imitation of a serious action leading to catharsis. Dryden widened this idea, defining drama as a lively image of human life.

  • The Ancients gave structure, the Moderns gave creativity. The best drama combines both.


  • French plays were polished, but English plays captured life’s variety.


  • Poetry in drama remains superior, though prose has its place.

For me, the greatness of Dryden lies in his balanced judgment. He respected tradition but also welcomed innovation. He understood that drama must not only follow rules but also reflect life in all its passion and humour.


In this way, Dryden paved the way for later critics and established English criticism as a serious field of study. His essay continues to guide students, scholars, and theatre lovers in thinking deeply about what makes drama meaningful.


References

  1. Dryden, John. An Essay of Dramatic Poesy. 1668.
    (Primary text where Dryden explains his views on drama, tragedy, French vs. English plays, and poetic vs. prosaic dialogue.)

  2. Aristotle. Poetics. Translated by S. H. Butcher, Macmillan, 1895.
    (For Aristotle’s definition of tragedy and his theory of catharsis, plot, and tragic hero.)

  3. [ResearchGate] Choudhary, Amit Kumar. “An Essay on Dramatic Poesy: John Dryden.” ResearchGate, 2023.
    Available at: https://www.researchgate.net/publication/373767836_An_Essay_on_Dramatic_Poesy_John_Dryden
    (Useful for understanding Dryden’s critical positions, and differences between Ancients, Moderns, French, and English drama.)

  4. YouTube. An Essay of Dramatic Poesy by John Dryden. Uploaded by various academic channels:

  5. Barad, Dilip. Bridge Course: John Dryden – An Essay on Dramatic Poesy. Department of English, MKBU.
    (Classroom/academic resource contextualizing Dryden’s essay, prepared under the guidance of Professor Dr. Dilip Barad.)



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