John Dryden was born in 1631 in Aldwinkle, Northamptonshire. Dryden was a versatile and voluminous writer who left no branch of literature untouched. As he was a great prose writer, he is regarded as the founder of modern prose style. As he was also an original and discriminating critic, Dr. Johnson called him "the father of English criticism." Dryden's "Essay of Dramatic Poesy" is an important landmark in the history of literary criticism in England. Apart from this, he had written works, innumerable prefaces and dedications which are considered as valuable critical documents.
Dryden in his "Essay on Satire," defines the aim of
satire as the correction of manners. He regarded a satirical poem as a species of
heroic poem. Moreover, through his satires he raised English satire to the
level and dignity of the Epic. Dryden defined a heroic play as "an
imitation, in little, of a heroic poem." Since tragedy is modelled on
epics, the supernatural agents like ghosts, gods, angels etc. can also be
included in it. In his "Essay on Fables," he examines the varied
literature of Ancient Greece and Rome, of Italy and England. He makes
illuminating comparisons between Homer and Virgil and then between Chaucer and
Ovid. The best of his critique on Chaucer is his appreciation of Chaucer's art
of characterization. Though he is unable to appreciate Chaucer's language and
versification, he appreciates the variety and realism of Chaucer's characters
that are of both their age and all ages.
In 1663 Samuel Sorbière, a French man, visited England on a
diplomatic mission. However, on his return to France he provoked Dryden by
making unfavourable remarks about English science and English stage. So Dryden
wrote 'The Essay on Dramatic Poesy' in the plague years of 1665 & 1666 and
published in 1668. It is in the form of a dialogue in the manner of Plato's
'Republic'. Crites, Eugenius, Lisideius and Neander are the four speakers or
interlocutors. Every speaker's contribute contributes a free give and take of
views. Nothing is stated with any finality, not even by Neander, who is Dryden
himself. Thus in the end the readers are left to draw their own conclusions.
Thus Dryden has successfully used the Aristotelian way of practical reasoning in
the essay. The literary discussion they talk about the merits of ancient and
modern poets, they argue whether the French school of drama is superior or
inferior to the English. They also argue whether the Elizabethan dramatists
were superior to those of Dryden's time. They also talk about dramatic rules
and rhymes.
Dryden uses the term 'examen' for critical analysis, and this
term was originally used by the French playwright - Corneille. Dryden gives
more importance to the 'liveliness' of the image than to its 'justness' when he
talks about poetry. According to him the primary function of poetry is more
delighting than instructing. Moreover, Dryden's liberalism is best seen in his
justification of the violation of the three unities of time, place and action
on the part of English dramatists and in his defence of the English
tragi-comedy. According to him Shakespeare's plays are more true to nature, and
more delightful than any French play, even though he hasn't observed the
unities. Similarly, tragicomedy is true to nature as in nature good and evil,
joy and sorrow are seen mingled in countless modes and ways.
Dryden recognises that the genius and temperament differ from
age to age and hence literature in different periods of history is bound to be
different. Similarly, he recognises that the temperament of the French and the
English differ hence the literature of the two countries are bound to be
different. Thus he becomes a pioneer in the field of historical and comparative
criticism. According to Dryden as rhyme is justified by its universal use among
all the civilized nations of the world it is inevitable. It is inevitable to
tragedy but not to comedy. To comedy, blank verse, (or poetic prose) is more
suitable. Though Dryden is said to be prejudiced in favour of his own country,
he established the English fashion of criticising as Shakespeare did the
English fashion of dramatising.
----Thulasidharan V Thillaiakathu
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