Exploring John Dryden’s An Essay of Dramatic Poesy – A Learning Reflection

I am writing this blog as part of our Bridge Course activity on John Dryden’s An Essay of Dramatic Poesy. We were given short video podcasts to watch and take notes on. In this blog, I will share my understanding and learning outcome from each video, along with the embedded videos. This task helps me connect the theory from Dryden’s essay with my own reflections.

Introduction

John Dryden (1631–1700) was one of the most important literary figures of the Restoration period in England. He was a poet, playwright, and critic who shaped the development of English literature in the late seventeenth century. An Essay of Dramatic Poesy, written in 1668, is regarded as a landmark work in English literary criticism. It is presented as a dialogue between four characters Crites, Eugenius, Lisideius, and Neander, who discuss the nature of drama, comparing ancient and modern playwrights, as well as French and English dramatic traditions. Through these characters, Dryden examines critical questions such as the value of classical rules, the role of rhyme and blank verse, and the balance between artistic form and realistic expression. Neander, who represents Dryden’s own views, defends the richness, variety, and emotional depth of English drama, particularly praising the works of Shakespeare.

John Dryden: Life and Works

John Dryden was born on 9 August 1631 in Aldwincle, Northamptonshire, England, and educated at Westminster School and Trinity College, Cambridge. He emerged as one of the most prominent literary figures during the Restoration period, a time when the monarchy was restored under King Charles II and theatres reopened after years of Puritan suppression. Dryden’s career spanned poetry, drama, translation, and criticism. His works include political poems such as Absalom and Achitophel, satires like Mac Flecknoe, plays including All for Love, and numerous translations from classical authors such as Virgil and Juvenal. In 1668, he was appointed Poet Laureate, and in 1670, he also became Historiographer Royal. His literary output reflects both the spirit of his age and his deep engagement with the traditions of classical literature.

Dryden as a Critic and His Legacy

Dryden holds a central place in the history of English literary criticism, often referred to as the “Father of English Criticism” because of his pioneering role in establishing English prose criticism as a serious and systematic discipline. His critical works, especially An Essay of Dramatic Poesy, display his comparative method, weighing the merits of different literary traditions with balance and insight. While he respected the classical ideals of order, decorum, and unity, he was also open to innovation, defending the variety and energy of English drama. His criticism is marked by clarity, rational argument, and a conversational tone that made complex ideas accessible. Through his writings, Dryden influenced generations of poets, dramatists, and critics, leaving a legacy that bridges classical principles with the emerging modern sensibility of literatur.

An Essay of Dramatic Poesy: Background and Form

An Essay of Dramatic Poesy was written by John Dryden in 1668 during the Restoration period, a time when English theatre was experiencing a revival after the long closure under Puritan rule. The essay was composed against the backdrop of the Anglo-Dutch War and the Great Plague of London, which forms the setting for the conversation in the work. Instead of presenting his arguments in a straightforward expository form, Dryden uses a dialogue among four fictional characters Crites, Eugenius, Lisideius, and Neander, who take a boat ride on the River Thames. Each character represents a distinct critical viewpoint: Crites defends the Ancients, Eugenius praises the Moderns, Lisideius admires the French dramatists, and Neander, reflecting Dryden’s own perspective, champions English drama. This conversational style allows Dryden to present multiple sides of the debate in an engaging and balanced way.

Themes and Critical Debates in the Essay

The central discussions in the essay revolve around several important questions in dramatic theory. These include the comparison between ancient and modern playwrights, the merits of French drama versus English drama, and the application of the classical unities of time, place, and action. Dryden, through Neander, argues that while classical rules are valuable, they should not limit the creativity and emotional power of drama. The essay also addresses the question of whether plays should be written in rhymed verse or blank verse, with Dryden defending rhyme for certain dramatic forms. Overall, An Essay of Dramatic Poesy reflects Dryden’s balanced approach to criticism: respecting classical traditions while appreciating the strengths and innovations of English theatre. Its comparative method and lively style have made it a foundational text in the history of English literary criticism.

Video 1: Dryden as Father of English Criticism, Neo-Classical Critic, and Definition of Play

Dr. Samuel Johnson’s description of John Dryden as the “father of English criticism” captures the central role he played in shaping literary discussion in seventeenth-century England. He brought criticism out of the realm of casual opinion and into the space of reasoned, reflective, and comparative thought. His writings demonstrate a deep engagement with the works of classical masters such as Aristotle, Horace, and Longinus, yet he adapted their insights to suit the evolving tastes and practices of the English stage. As a Neoclassical critic, Dryden valued clarity, balance, and order, seeing literature as an art form that should reflect universal truths about human nature. His criticism was not detached from creative practice; rather, it grew out of his own experiences as a dramatist and poet, which gave him an intimate understanding of the theatre’s demands.

The video also examined Dryden’s well-known definition of a play, which consists of three essential elements. First, a play should present “a just and lively image of human nature,” meaning that it should portray life in a truthful and recognizable way. Second, it should show the “passions and humors” that shape human behavior, from the noble to the ridiculous. Third, the actions in a play should provide both “delight and instruction,” blending entertainment with moral or intellectual value. This approach marked a shift from the more idealized visions of earlier critics towards a more realistic and relatable understanding of drama. Dryden recognized that plays must appeal to the emotions and intellect of their audience, making them both a source of enjoyment and a means of reflection on human life.

My Learning Outcome

From this video, I understood why Dryden is remembered as the father of English criticism. His critical approach combines respect for classical principles with a sensitivity to the realities of the English stage. His definition of a play reflects a balanced vision: art should mirror human life honestly, explore its emotions and characters, and offer both pleasure and moral insight. This perspective reveals Dryden as a critic deeply concerned with the connection between art and the human experience.

Video 2: The Debate on Rhyme and Blank Verse in Serious Plays

In An Essay of Dramatic Poesy, John Dryden presents an engaging debate on whether rhyme or blank verse is more suitable for serious drama, especially tragedies. This discussion unfolds through the voices of two characters: Crites and Neander. Crites takes a firm stand against rhyme, arguing that it can feel artificial and even comical when applied to moments that should feel natural and realistic. He humorously illustrates his point by imagining how absurd it would be if ordinary conversations were forced into rhyming couplets. For him, the grandeur of tragedy does not depend on ornate sound patterns but on the sincerity and truth of its language. His view is rooted in the belief that the emotional depth of a play can be diminished if the audience becomes too aware of its formal structure.

Neander, in contrast, champions the use of rhyme in serious drama. He sees rhyme as a way to elevate the language, giving it a musical quality and a sense of order that complements the dignity of tragedy. According to him, rhyme can enhance the audience’s pleasure while also giving the dialogue a refined elegance. Yet, the transcript points out an interesting irony in Dryden’s own practice: although Neander defends rhyme passionately, Dryden later wrote his celebrated tragedy All for Love entirely in blank verse, abandoning rhyme altogether. This suggests that Dryden’s personal views may have evolved over time, moving towards a more naturalistic style that prioritised emotional authenticity over strict formalism.

My Learning Outcome

From this video, I learned how Dryden used the dialogue form to explore opposing ideas without rigidly committing to one side. The debate between rhyme and blank verse is more than a technical question  it reflects deeper issues about realism, artistic elevation, and audience engagement. I also found it significant that Dryden himself moved away from rhyme in his later work, which shows that great critics and writers can adapt their views as their artistic understanding grows.

Video 3: Dryden’s Definition of a Play

In An Essay of Dramatic Poesy, John Dryden offers a definition of a play that blends artistic purpose with moral responsibility. He describes it as a “just And lively image of human nature,” a phrase loaded with meaning. In this video, the speakers carefully unpack the terms “just” and “lively.” By “just,” Dryden implies a natural and faithful representation of life, free from unnecessary exaggeration or artificiality. A play should feel true to the experiences, emotions, and situations of real people. “Lively,” on the other hand, goes beyond accuracy; it demands energy, vibrancy, and the power to move the audience. A lively play is not a dull mirror of reality but a spirited re-creation that captures the audience’s imagination and holds their attention.

The discussion also draws attention to the two vital purposes Dryden attaches to drama, delight and instruction. For Dryden, a successful play must entertain, drawing the audience into its world with charm and pleasure. Yet, entertainment alone is not enough; there must also be a subtle educational value. Instruction in Dryden’s view does not mean moral preaching, but rather the gentle shaping of thought, values, and understanding through the actions, struggles, and resolutions shown on stage. This combination ensures that theatre becomes both a source of joy and a tool for refining the mind. The video concludes by emphasizing how this balance between delight and instruction is a hallmark of Restoration literary ideals.

My Learning Outcome

From this video, I learned that Dryden’s definition of a play is both artistic and ethical, reflecting the Neoclassical belief that literature should blend pleasure with moral insight. The terms “just” and “lively” helped me see how Dryden valued authenticity but also demanded creative energy in representation. I also understood that for Dryden, the best plays do not simply copy reality, nor do they only aim to entertain; they enrich the audience’s thinking while keeping them engaged.

Video 4: Comparative Criticism of Ancients, Moderns, and French Playwrights

In An Essay of Dramatic Poesy, Dryden presents a lively debate between fictional characters representing different literary traditions. Through Eugenius, he defends the achievements of the modern English stage while still showing respect for the ancient Greek and Roman masters. The video explains that Dryden does not completely reject classical rules, particularly the “three unities” of time, place, and action, but he does question their strict application. Instead, he argues for a flexible approach that allows English playwrights to adapt these rules to suit the tastes and experiences of their own audiences. This balance between tradition and innovation reflects Dryden’s skill as a critic, he is able to acknowledge the value of the past while making space for contemporary creativity.

The discussion also focuses on the French influence on Restoration drama. French theatre, known for its elegance and strict adherence to classical rules, impressed many English critics of the time. However, Dryden, while appreciating the order and refinement of French plays, does not believe they should replace the richness and variety of English drama. The video points out that This debate is not merely literary; it also mirrors the political and cultural shifts of 17th-century England, when questions of national identity and cultural pride were deeply connected to artistic expression. Dryden’s comparative criticism thus becomes more than just an evaluation of styles, it is a statement about the need for an English theatre that honors tradition but remains true to its own character.

My Learning Outcome

From this video, I learned that Dryden’s criticism is both comparative and diplomatic. He manages to respect the authority of the ancients, appreciate the discipline of the French, and yet firmly defend the creativity and independence of the English stage. I understood that his approach reflects not only a literary judgment but also the broader cultural atmosphere of Restoration England, where blending respect for the past with a desire for innovation was essential.

Video 5: The Debate on Rhyme vs. Blank Verse in Serious Drama

In An Essay of Dramatic Poesy, Dryden stages a thoughtful debate between two characters, Crites and Neander, over whether tragedies should be written in rhyme or blank verse. Crites takes a firm stand against rhyme, saying that it feels unnatural for serious drama, and even jokes that it would sound odd in everyday conversation. He believes that rhyme can distract from the natural flow of the story and emotions. On the other hand, Neander speaks in favor of rhyme, claiming that it adds dignity, beauty, and pleasure to the performance. For Neander, rhyme is not just decoration, it gives the play a refined and artistic charm that blank verse sometimes lacks.

The video also points out a striking twist in Dryden’s own career. Even though Neander (Dryden’s representative voice in the essay) defends rhyme, Dryden later chose to write his well-known tragedy All for Love entirely in blank verse. This choice suggests that Dryden’s opinions about dramatic form were not fixed. Over time, he may have realised that the emotional depth and natural rhythm of blank verse could better serve certain stories, especially those with intense emotional weight. The debate, therefore, is not only about literary technique but also about how an artist’s ideas can change with experience and practice.

My Learning Outcome

From this video, I learned that Dryden was open-minded and willing to change his views when he saw a better way to express drama. I understood that rhyme can give beauty and order to a play, while blank verse can bring more natural emotion. This taught me that good writing is not about always following one fixed rule, but about choosing the form that best serves the story.

Video 6: Neander vs. Crites on Rhyme in Tragedy

The YouTube discussion from DoE-MKBU focuses on a lively exchange between Neander and Crites, two fictional voices in Dryden’s An Essay of Dramatic Poesy. Neander strongly supports the use of rhyme in serious drama, believing it adds nobility, rhythm, and a pleasing musical quality to the language. For him, rhyme is more than a stylistic choice, it elevates the mood of a tragedy and can make its emotions feel grander. He argues that well-crafted rhyme can deepen the audience’s sense of beauty and help them connect with the art of the play on a more emotional level.

Crites, however, presents an opposing vision. He criticizes rhyme as being artificial and unfit for the natural flow of conversation in drama. In his view, plays should reflect the spontaneity and truth of human interaction, and rhyme can feel like a “sugar-coated ornament”  something pretty, but not always essential to the meaning. For Crites, blank verse or prose allows characters to speak with more authenticity, letting emotions flow without being restricted by rhyme schemes. The debate ultimately reflects Dryden’s own exploration of how form and content must balance each other in dramatic art, with both sides presenting valid points about the role of artistic beauty versus natural expression.

My Learning Outcome

From this video, I learned that in literature, beauty and truth are often in conversation with each other. Rhyme can enrich a play with elegance and musical flow, while blank verse can make it sound more real and emotionally immediate. The discussion reminded me that the best form depends on the purpose of the work and the effect the writer wants to create.

Conclusion

John Dryden emerges as one of the most important voices in the history of English literary criticism, not only because he inherited the wisdom of classical thinkers like Aristotle, but also because he adapted their ideas to the tastes and realities of his own age. Through An Essay of Dramatic Poesy, he explored complex questions about form, style, and purpose in drama  whether through defining a play as a “just and lively image of human nature,” comparing ancient and modern playwrights, or debating the merits of rhyme and blank verse. His method was never rigid; instead, he balanced respect for tradition with openness to change, often acknowledging multiple viewpoints before arriving at his own. In this way, Dryden’s criticism reflects the spirit of the Restoration period itself  a time of negotiation between old ideals and new artistic freedoms. His legacy as the “father of English criticism” rests not only on his analytical skill, but also on his ability to keep literature connected to both artistic beauty and the truth of human experience.