“My whole discourse was skeptical … You see it is a
dialogue sustained by persons of several opinions, all of them left doubtful,
to be determined by the readers in general.” Dryden in Defense of An Essay.
John
Dryden whom Walter Scott named "Glorious John" writes Essay of Dramatic Poesy or An Essay of Dramatick Poesie (1668) which is, "the most elaborate and
one of the most attractive and lively" of his works. As his combatants
dispute the relative merits of Ancient and Modern drama, of English and French
theatrical practice, Dryden conjures up echoes of the Platonic dialogue “A
thing well said will be wit in all languages.”
According
to Crites, ‘Ben Jonson as the greatest English playwright followed the
ancients’ heritage by referring to the unities.
‘‘…
he loved their fashion when he wore their clothes…’’
The
speakers actually contrast Ben Jonson who wrote regular plays and also obeyed
all the Classical rules, with William Shakespeare who broke these dramatic
rules and unities with great abandon:
“He invades
authors like a monarch; and what would be theft in other poets is only victory
in him.”
Eugenius,
as his counterpart favors the moderns over the ancients, arguing that the
moderns exceed the ancients because of having learned and profited from their
example. Unlike the ancients, moderns have the chance of benefiting from the
works of elder generations. In order to surpass the ancients, something should
be added to what was learned from them. So, moderns are greater poets and
superior to the ancients.
Crites
interrupts Eugenius saying that they can not come to an agreement. Because,
Crites believes that the moderns do not create something new but just changing
the appearance. He concludes the debate:
“the ancients should be accepted as the masters
today and in the future as well.”
Another
debate starts between Eugenius and Lisideius on French Drama vs. English Drama
then Neander also comes to the stage sharing his ideas as well. Eugenius favors
English Drama and accepts it superior to the French Drama. However, Lisideius
who glorifies French plays, replies by saying that French Drama is superior to
the English and also any other European Drama. He supports himself by accepting
the French Drama as the most strictly faithful one to the Aristotle’s three
unities:
‘‘There is no theater in the world has anything so
absurd as the English tragicomedy…in two hours and a half, we run through all
the fits of Bedlam’.
Lisideius
defines it as ‘‘unnatural mixture of comedy and tragedy’’. Shakespeare’s plays’
consisting of both a plot and a sub plot is also a default according to
Lisideius.
“Some actions which should be done behind the scene
such as a battle or a murder which English Drama lacks and causes turmoil on
the scene.”
And he finishes “none of the French plays end
with any unbelievable conversions.
Neander
goes on to defend English Drama and tragicomedy. According to him, tragicomedy
increases the effectiveness of both tragic and comic elements by way of
contrast. He then criticizes French Drama especially for its shallowness:
consisting of only one plot without sub plots; showing to the audience too
little action but too many words, shortly, its narrowness of imagination. And
these are all qualities which makes it inferior to the English Drama.
Neander
extends his criticism of French Drama by reasoning for his preference of
Shakespeare over Ben Jonson.
Shakespeare has ‘‘the largest and most
comprehensive soul’’ while Jonson is ‘‘the most learned and judicious writer which
any theater ever had’’.
Moreover,
Neander prefers Shakespeare for his greater faithfulness to the life while
Jonson has a French/Classical tendency to deal with the ‘beauties of a statue,
but not of man’.
‘‘If I would compare him with Shakespeare, I must acknowledge
him the more correct poet, but Shakespeare the greater wit. Shakespeare was the
Homer, or father of our Dramatick Poets; Jonson was the Virgil, the pattern of
elaborate writing; I admire him but I love Shakespeare’’.
The last
debate takes its start by Crites’ objecting to rhyme in plays. ‘
‘Rhyme is incapable of expressing the greatest
thought naturally, and the lowest it can not with any grace’’
According
to him, no man speaks in rhyme, and if the stage is reflection of the real
life, then why he ought to do it on the stage. He supports his objection by
citing from Aristotle as saying
‘‘plays
should be writ in that kind of verse which is nearest prose.’’
He uses
it as a justification for banishing rhyme from drama in favor of blank verse
(unrhymed iambic pentameter).
Three
versions of classicism have held the stage, but Neander’s deferential
conclusions have persuasively illuminated Dryden’s true ambition: a vindication
of English drama. It is one which will pay sufficient respect to the rules, but
which will be generous enough to accommodate the wilder genius of a Shakespeare
who
“when
he describes any thing, you more than see it, you feel it too.”
What
pleased the Greeks may not satisfy the English taste. In this respect he is
more liberal than Sidney or Ben Jonson or any of the continental neo-classical
critics.
Another
merit of the Essay pointed out by Professor Saintsbury is that it demonstrates
Dryden's scholarship, wide reading and originality. Though Dryden confessed
later in his Defence of an Essay
that the Essay of Dramatic Poesy was
' for the most part borrowed from the observations of others', yet the borrowed
ideas neither detract from nor add up to the sum of its achievement.
Before going deep into the essay, please read this
para first.
The
treatise is a dialogue between four speakers:
- Eugenius was Sir William Davenant [Dryden's
"ingenious" collaborator on their revision of The Tempest],
- Crites was Sir Robert Howard [playwright and
Dryden's brother-in-law],
- Lisideius was the earl of Orrery [Roger Boyle,
author of the first heroic play in rhymed couplets],
- Neander was Dryden himself (Neander means
"new man" and implies that Dryden, as a respected member of the
gentry class, is entitled to join in this dialogue on an equal footing
with the three older men who are his social superiors).
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.
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