Dryden as a Critic

Introduction: John Dryden (1631-1700) was a poet, dramatist, and critic. He is called the 'Father of Criticism'. He wrote "An Essay on Dramatic Poesy" (1668) and many other critical treaties on literature. His criticism throws ample light on his conception of the nature and function of poetry.

Dryden's Liberal Classicism: Dryden adjusts the rules of the ancients to the genius of the age. He found no harm in tragi-comedy. He admired the variety and copiousness of the English plays. He ridicules at the three unities. He admits that plot may be the 'foundation' and not the 'soul' of the play as said by Aristotle. He observes objectivity or detachment and reasoning in criticism. He was the first critic to point out that each age has its own genius. He, for the first time introduced the notion that literature is an organic force which grows and develops with the growth of the nation.

Dryden's Views on Poetry: According to Dryden “poetry is just and lively image of human nature, representing the passion and humour, and the changes of fortune to which it is subject, for the delight and instruction of mankind”. Dryden accepts that conception of imitation. He does not take it to be the photographic representation of human nature. The word ‘image’ to him means not making a mere copy of life but making a beautiful resemblance of the whole.  Dryden also uses the word ‘fancy’ as Coleridge uses the word ‘imagination’ implying the faculty by which the poet creates. Dryden says that imagination in a poet is a faculty so wild and lawless  that like a high ranging spaniel. And so the fancy outruns the judgement.  Yet according to Dryden the function of literature is to delight and instruct mankind.

Dryden on Dramatic Poetry: Throughout the “Essay on Dramatic Poesy” drama is  treated as a form of imaginative literature. Three Unities: Dryden does not subscribed to the three unities of time place and action. He justifies the violation of unities on reasonable grounds. The observance of unities has a narrowing and cramping effect on French plays. The English dramatists who disregarded unities  presented more ‘just’ and ‘lively’ picture of human nature.  Shakespeare is more true to nature and more delightful than any French play even though he has not observed the unities.

Tragi-Comedy: Dryden defends tragi-comedy which English dramatist ably and artistically wrote. There is in English drama and appeal from the rules of the classics to the laws of nature. In nature Jay and pain go together. Therefore, tragi-comedy is true representation of nature. However, Dryden condemns unnaturalness in some tragi-comedies. By writing tragi-comedies the English dramatists have perfected a new way of writing not known to the ancients.

Unpalatable or Incredible Scenes in Drama: Dryden’s judgement in the inclusion of incredible and unpalatable scene such as battle and death scene on the stage is unreserved. The Greek, Roman and French dramatists carefully avoided them. Dryden liked to avoid scenes of death on the stage. He allows scenes of physical actions such as battle and duels on the stage.  

Dryden on Tragedy: Dryden closely follows Aristotle in his definition of tragedy:  “it is an imitation of one, entire, great and probable action: not told but represented; which by moving in us fear and pity is conducive to the purging (cathartic) of those two emotions in our minds”. Dryden explains that a single action is necessary because two independent stories would distract the attention. But the action should be complete with a natural beginning, middle, and end. Dryden was influenced by Horace and Aristotle with regard to his views on tragic hero and other characters in tragedy. Dramatic characters should emerge clearly from action and speech and they should be true to nature, in accordance with age, sex, and rank.

Dryden on Comedy: Dryden's views on comedy were influenced by Aristotle. Comedy, according to him is a "representation of human life in inferior persons and low subjects. Dryden assigns a much lower place to farce, which was a popular form of the comic plays in his days. The pleasure which both comedy and farce evoke is also different. Comedy arouses laughter to restore normalcy and good behaviour. But farce is a kind of bastard pleasure taken in at the eyes of vulgar gazes, and at the ears of the beastly audience. According to Dryden, the function of comedy is this: "the first end of comedy is to delight, and instruction only the second". He prefers comedy of wit or manners to comedy of humours.

Dryden's Place in Literary Criticism: Dryden's place as a critic is unassailable. He lived in an age of changing critical values but still he kept up his balance of mind and placed criticism on a high and sound footing for the guidance of future generations. In fact, his Classicism was later modified and produced by modern critics like T.S. Eliot.