Neander gives his palm to the violation of the three unities because it leads to the variety in the English plays. In the characterization they no doubt, imitate nature, but their imitation is only narrow and partial — as if they imitated only an eye or a hand and did not dare to venture on the lines of a face, or the proportion of the body. The French do not burden the play with a fat plot. And the Unity of Action is even more obvious. It has the same effect on us as music.

Navigation menu Personal tools Log in Request account. On the day that the English fleet encounters the Dutch at sea near the mouth of the Thames, the four friends take a barge downriver towards the noise from the battle. Crites favours classical drama i. They favour the Unity of time and they observe it so carefully. Hence the French plays are better written than the English ones. Violent actions take place off stage and are told by messengers rather than showing them in real.

He talks about the greatness of Elizabethans. The three unites, Dryden observe, ought to be followed in all regular play. Nander favour the Unity of time and they observe it so carefully. The treatise is a dialogue between four speakers: Essays 6 English Lit. They both delight and instruct, at one and the same time.

There disregard poetic justice. In Dryden we find an interest in the general issues of criticism rather than in a close reading of particular draamtic. As to the liveliness of language, Eugenius countersfutes Crites by suggesting that even if we do not know all the contexts, good writing is always good, wit is always discernible, if done well.


He was a critic of contemporary reality. This French drama having single plot lacks this vividness. He vindicates tragi-comedy on the following grounds: For Drydenpoetic imitation is different from an exact servile copy of reality, for the imitation is not justit is also lively. It is simply poetic prose and so fit only for comedies.

An Essay of Dramatic Poesy Summary by John Dryden

Unity of author, work and dramaatic. The debate goes on about the comparison between ancient writers and modern writers. Forster reputed for the Forster Education Act.

However, in the Essay, he has expressed himself strongly in favour of rhyme through the mouth of Neander. The special collection of E.

Dryden Dramatic Poesy – WikiEducator

defende Neander 1 Fill in the blanks: Crites offers an objection specifically to the use of rhyme as he privileges the verisimilitude of the scene while citing Aristotle.

Who wrote The History of Australia Literature in ? The word order in Modern English became relatively fixed because Restoration and 18 th century Drama. For Lisideius “no theater in the world has anything so absurd as the English tragicomedy; in two hours and a half, we run through all drakatic fits of Bedlam. Eugenius, Crites, Lisideius, and Neander. But these stories are transformed for dramatic purposes; in this regard they are superior even to the Ancients.


According to him, the Classical drama is not divided into acts and also lacks originality. Since nobody speaks in rhyme in real life, he supports the use of blank verse in drama and says that the use of rhyme in serious plays is justifiable in place of the blank verse.

essay on dramatic poesy neander defends

piesy However, he is not a rule bound critic, tied down to the classical unities or to notions of what constitutes a “proper” character for the stage. French poesy is beautiful ; it is beautiful like a statue.

See Dryden’s “Defense of An Essay of Dramatic Poesy”where Dryden tries to persuade the rather literal-minded Howard that audiences expect a play to be an imitation of nature, not a surrogate for nature itself. Neander favours the violation of the unities because it leads to dramatiic variety in the English plays. We are unable to appreciate the art and beauty of their language, only because many of their customs, stories, etc, are not known to us.

essay on dramatic poesy neander defends

In the late 17th century, Shakespeare was severely criticised for his careless attitude towards the mixing of genres.