John Dryden and His Literary Criticism: A Complete Note for English Literature Students

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John Dryden and His Literary Criticism: A Complete Note for English Literature Students

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Introduction

John Dryden was a towering figure in 17th-century English literature, not only celebrated as a poet and playwright but also as one of the first significant literary critics in English. His work laid the foundation for English literary criticism, influencing many who came after him. For English literature students, understanding Dryden’s critical theories and writings is essential, as they provide a crucial bridge between the classical traditions of literary thought and the emerging modern frameworks of criticism. In this article we are going to discuss about John Dryden and His Literary Criticism: A Complete Note for English Literature Students.

Early Life and Career of John Dryden

John Dryden was born in 1631 into a family with modest means but a rich intellectual tradition. He received a classical education, attending Westminster School and later Trinity College, Cambridge, where he was exposed to a wide range of literary works, including the classics. His early career was marked by his poetic works, but it wasn’t long before Dryden ventured into literary criticism, where his influence became monumental.

Dryden’s Role in the Restoration Period

The Restoration of Charles II to the throne in 1660 marked a significant change in the English cultural landscape, and Dryden was at the heart of this transformation. During the Restoration, there was a shift from the Puritan austerity of the Commonwealth period to a more celebratory and open embrace of arts and theater. Dryden thrived in this environment, contributing to the resurgence of drama and laying the groundwork for his critical works. His analysis of drama and poetry from this time reflects the Restoration’s influence, balancing moral lessons with artistic freedom.

Development of Dryden’s Critical Theories

Dryden’s transition from poet to critic was a gradual one, spurred by the changing literary environment of his time. He believed that literary criticism was not just a theoretical exercise but a necessary part of engaging with literature. His critical writings began to take shape in the late 17th century, and they often combined his reflections on classical literature with his contemporary observations.

Dryden and Classical Influences

One of the most significant aspects of Dryden’s criticism is his deep engagement with classical literary traditions, particularly those of Aristotle, Horace, and Longinus. Dryden was heavily influenced by the Aristotelian ideas of drama, particularly the concept of mimesis (imitation), and the idea that literature should both instruct and delight. His reverence for classical antiquity is evident in many of his critical essays, where he defends the value of studying the ancients as models for modern writers.

Key Works of John Dryden in Literary Criticism

An Essay of Dramatic Poesy

John Dryden’s An Essay of Dramatic Poesy, published in 1668, is one of the most significant works in English literary criticism. This work represents Dryden’s defense of English drama against French criticism, and his broader contribution to the field of literary theory. Written in a dialogic form, the essay engages with multiple perspectives on the nature and function of drama, while also reflecting the Restoration era’s renewed interest in theater.

Historical Context

Dryden wrote An Essay of Dramatic Poesy during a period of profound change in England. The Restoration of Charles II in 1660 had reopened theaters after a long closure during the Puritan regime, and drama became a central form of cultural expression. This was also a time of rivalry between French and English theater, with French neoclassicism, governed by strict rules of decorum and unity, often being held up as the ideal. Dryden’s essay responds to this cultural milieu, defending English drama while engaging with the classical principles that were being reintroduced in the era.

Form and Structure of the Essay

Dryden presents An Essay of Dramatic Poesy as a dialogue among four characters:

1. Crites
2. Eugenius
3. Lisideius
4. Neander

These four characters represent different viewpoints on dramatic theory. This structure allows Dryden to present a balanced discussion of the merits and flaws of both English and French drama. The characters are believed to represent real-life literary figures:

• Crites likely represents Sir Robert Howard, a classical scholar and critic of English drama.
• Eugenius represents Charles Sackville, who defends modern drama against classical rules.
• Lisideius argues in favor of French drama and represents Sir Charles Sedley.
• Neander stands for Dryden himself and advocates for English drama.

The conversation takes place on the Thames River, with the characters witnessing a naval battle between England and the Dutch. The dialogue uses this setting as an analogy for the cultural rivalry between England and France.

Summary of the Key Arguments

The Classical versus the Modern

The essay begins with a discussion of classical drama, with Crites defending the ancients (Greeks and Romans), who adhered strictly to the unities of time, place, and action, as outlined by Aristotle. He argues that the rules of classical drama ensure order, clarity, and decorum in the plays, making them superior to modern works. According to Crites, modern dramatists often violate these principles, resulting in plays that are less refined and coherent.

Eugenius, however, contends that the ancients are not flawless. He points out that the Greek and Roman playwrights often ignored aspects like plot variety and character development, limiting the emotional depth and range of their works. He argues that modern dramatists, especially the English, have innovated in ways that enhance drama, focusing more on complex characters, emotional engagement, and exciting plotlines.

French Drama versus English Drama

The second key debate in An Essay of Dramatic Poesy is between Lisideius, who praises French drama, and Neander, who defends English drama.

• Lisideius argues that French drama, represented by writers like Pierre Corneille, is superior because of its strict adherence to the classical unities and rules of decorum. French plays emphasize polished language, careful plot structure, and moral lessons. The French playwrights, Lisideius asserts, avoid mixing tragic and comic elements, and they maintain a refined tone throughout their works. He appreciates their discipline in sticking to the classical rules.
• Neander, representing Dryden’s views, counters by defending English dramatists such as Shakespeare, Ben Jonson, and Fletcher. He argues that while English plays may sometimes break the classical rules, they are more vibrant and emotionally engaging. Neander praises Shakespeare for his natural genius, his ability to mix tragedy and comedy, and his deep understanding of human nature. He also points out that English drama doesn’t shy away from portraying the full spectrum of life, including humor and absurdity alongside tragedy. This mixture, he contends, makes English plays more relatable and dynamic.

Neander ultimately argues that drama should not be constrained by rigid rules. Instead, it should reflect the complexity of life, engaging audiences on multiple levels, both intellectually and emotionally.

Discussion of the Three Unities

One of the most important debates in the essay concerns the classical “three unities” of time, place, and action, which were essential to Aristotelian drama.

• Unity of Time dictates that the events of a play should occur within a 24-hour period.
• Unity of Place requires that the action should take place in a single location.
• Unity of Action demands that a play should have one main plot, with no distracting subplots.

Crites argues that these unities are crucial for maintaining the realism and coherence of a play. However, Neander opposes the strict application of these rules, especially in English drama. He believes that drama is not confined to mere imitation of reality and that plays should prioritize engaging the audience’s emotions and imagination. English playwrights like Shakespeare, who often violated the unities, produced richer and more compelling works that resonate with a wider audience.

The Role of the Audience

Another important aspect of Dryden’s An Essay of Dramatic Poesy is the discussion of the audience’s role in drama. Neander argues that drama’s primary function is to delight and instruct the audience. He emphasizes that different cultures and time periods have different expectations, and thus, what works in French drama may not necessarily appeal to English audiences. The English have a tradition of vibrant and engaging theater that does not shy away from complex emotions, humor, and diverse plots.

For Neander, the primary goal of a play is not to rigidly follow classical rules but to engage the audience emotionally and intellectually. A successful play, according to Dryden, is one that can entertain, instruct, and provoke thought, regardless of whether it adheres to the unities.

Dryden’s Defense of Shakespeare

One of the most memorable parts of An Essay of Dramatic Poesy is Dryden’s defense of William Shakespeare. While acknowledging Shakespeare’s faults—his occasional disregard for the unities, and his mixing of comic and tragic elements—Dryden asserts that Shakespeare’s genius lies in his natural ability to capture the complexity of human experience. According to Dryden, Shakespeare is a master of character and emotion, and his plays, though imperfect by classical standards, speak deeply to the human condition. Dryden famously describes Shakespeare as “the man who of all Modern, and perhaps Ancient Poets, had the largest and most comprehensive soul.”

Criticism of Ben Jonson

Dryden also discusses Ben Jonson in the essay, contrasting him with Shakespeare. While he admires Jonson for his strict adherence to classical principles, his learned approach to drama, and his satire, Dryden notes that Jonson’s works sometimes lack the emotional depth and universality found in Shakespeare’s plays. Jonson’s rigid application of the rules of comedy, in Dryden’s view, can sometimes feel overly mechanical and less relatable to a broader audience.

Conclusion of the Essay

In the concluding section of An Essay of Dramatic Poesy, Neander (Dryden) acknowledges that both French and English drama have their merits. He advocates for a balanced approach to criticism, recognizing that different forms of drama can succeed for different reasons. The essay ends on a note of tolerance and flexibility, with Dryden expressing his belief that while classical rules provide useful guidelines, the ultimate goal of drama is to captivate and move the audience.

Importance of An Essay of Dramatic Poesy

An Essay of Dramatic Poesy remains a cornerstone of English literary criticism for several reasons:

1. Defense of English Drama: Dryden’s essay is a passionate defense of English drama, particularly the works of Shakespeare, at a time when French neoclassical drama was considered superior.
2. Discussion of Critical Theories: The essay offers a rich discussion of various critical theories, ranging from classical to contemporary perspectives, and provides insight into how literature can evolve by adapting to cultural changes.
3. Balanced Criticism: Dryden’s ability to balance respect for classical principles with an understanding of the value of innovation makes the essay a nuanced and sophisticated piece of criticism.
4. Impact on Future Critics: Dryden’s work influenced later critics, including Alexander Pope and Samuel Johnson, helping to shape the field of literary criticism in the 18th century.

Conclusion

John Dryden’s An Essay of Dramatic Poesy is a foundational text for anyone studying literary criticism. Its exploration of the nature of drama, the debate between classical and modern practices, and its defense of English dramatists like Shakespeare make it an essential work for understanding the evolution of English literature. Dryden’s dialogue highlights the importance of flexibility in literary criticism, emphasizing that while rules can guide, the ultimate test of a work’s value lies in its ability to engage and affect the audience.

Preface to Fables Ancient and Modern

John Dryden’s Preface to Fables Ancient and Modern (1700) is one of his most important critical works, offering insight into his views on translation, poetry, and literary criticism. This preface serves as an introduction to Dryden’s translations of works by Homer, Ovid, Geoffrey Chaucer, and Giovanni Boccaccio, which are collectively referred to as Fables Ancient and Modern. In this essay, Dryden reflects on the process of translation, his respect for ancient and modern authors, and his approach to balancing fidelity to the original text with the need to appeal to contemporary readers.

Historical Context

Dryden wrote the Preface to Fables Ancient and Modern near the end of his life, during a period of reflection on his career as a poet, playwright, and critic. Published in 1700, Fables Ancient and Modern was Dryden’s last major work. By this time, he had established himself as one of the most prominent literary figures in England, known for his translations, critical essays, and contributions to neoclassical literature.

Dryden’s literary output was shaped by the intellectual and political climate of the Restoration and post-Restoration periods. He lived through the transition from the rule of Charles II to the Glorious Revolution of 1688 and the subsequent reigns of William III and Mary II. His literary career was marked by his shifts in religious and political allegiances, reflecting the turbulent times in which he lived. The Preface to Fables is both a reflection of these experiences and a summation of his views on literature and translation.

Summary of the Key Arguments

Dryden on Translation

One of the central themes of the Preface is Dryden’s discussion of translation. He begins by acknowledging that translation is a difficult and often thankless task, as the translator must navigate between being faithful to the original text and making the translation accessible to contemporary readers. Dryden argues that the translator’s job is not simply to create a word-for-word rendering of the original text but to capture the spirit and meaning of the original while adapting it to the sensibilities of a modern audience.

Dryden categorizes translation into three types:

1. Metaphrase: A literal, word-for-word translation that sticks closely to the original language. Dryden criticizes this approach as too rigid and likely to produce awkward, unnatural language.
2. Paraphrase: A freer approach to translation that aims to convey the meaning and sense of the original while allowing for greater flexibility in language and structure. Dryden advocates for this method as it allows the translator to preserve the original’s essence while making it more readable.
3. Imitation: The loosest form of translation, in which the translator takes significant liberties with the original text, often rewriting parts of it to suit contemporary tastes or to emphasize certain themes. Dryden is cautious about this method, as it risks straying too far from the original.

Dryden himself adopts the paraphrase method in his translations of Homer, Ovid, Chaucer, and Boccaccio. He believes that this approach allows him to remain faithful to the spirit of the original authors while making their works accessible to a modern English audience. He argues that the goal of translation is not to produce a perfect replica of the original but to create a work that stands on its own as a piece of literature in the target language.

Dryden’s Praise for Chaucer

One of the most important aspects of the Preface is Dryden’s discussion of Geoffrey Chaucer. Dryden expresses his deep admiration for Chaucer, calling him “the father of English poetry.” He praises Chaucer’s vivid characterizations, his ability to capture human nature, and his mastery of language. Dryden notes that Chaucer’s characters in The Canterbury Tales are lifelike and individual, making them stand out as fully developed personalities.

Dryden acknowledges that Chaucer’s language, written in Middle English, can be difficult for modern readers to understand. However, he argues that this is not a fault of Chaucer’s, but a result of the natural evolution of the English language. He emphasizes that Chaucer’s genius transcends linguistic changes and that his works are still relevant and valuable in Dryden’s time. As a translator, Dryden takes on the challenge of making Chaucer’s language more accessible to contemporary readers without losing the richness of his poetry.

In particular, Dryden translates Chaucer’s The Knight’s Tale, The Nun’s Priest’s Tale, and The Wife of Bath’s Tale. In his translations, Dryden stays close to Chaucer’s original narratives but updates the language to make it more comprehensible to modern audiences. He respects Chaucer’s genius while ensuring that his stories retain their vitality in a new linguistic context.

Comparison of Chaucer with Ovid, Homer, and Boccaccio

Dryden’s Preface also includes comparisons between Chaucer and the other authors he translates—Ovid, Homer, and Boccaccio. He places Chaucer on equal footing with these classical and continental writers, arguing that Chaucer’s insights into human nature and his poetic skill are on par with the greats of antiquity and the Renaissance.

• Ovid: Dryden translates parts of Ovid’s Metamorphoses, and he praises Ovid’s ability to blend mythology with deep psychological insights. However, Dryden notes that while Ovid is a master of style and form, his characters sometimes lack the depth and complexity found in Chaucer’s works. Dryden sees Chaucer as superior to Ovid in terms of character development and moral complexity.
• Homer: Dryden respects Homer’s epic grandeur and his influence on Western literature, particularly in works like the Iliad and the Odyssey. However, he suggests that Homer’s focus on heroic deeds and the gods makes his characters more distant from the reader, whereas Chaucer’s characters are more grounded in everyday life. Dryden values Chaucer’s ability to portray ordinary human beings with relatable emotions and motivations.
• Boccaccio: Dryden translates stories from Boccaccio’s Decameron, including Theodore and Honoria. He acknowledges that Boccaccio, like Chaucer, excels in narrative storytelling and vivid characterizations. However, Dryden argues that Chaucer’s characters are more fully realized and morally complex than Boccaccio’s. He appreciates Boccaccio’s wit and humor but believes that Chaucer offers deeper insights into human nature.

Views on Poetry and Literary Greatness

In addition to discussing translation and specific authors, Dryden reflects on the nature of poetry and literary greatness. He believes that the best poets are those who can capture the complexities of human nature and present them in a way that resonates with readers across time and culture. For Dryden, the greatness of poets like Chaucer, Ovid, and Homer lies in their ability to convey universal truths through vivid characters and compelling narratives.

Dryden also emphasizes the importance of style in poetry. He argues that great poets are those who can balance substance with form, using language that is both beautiful and meaningful. He praises Chaucer for his “natural” style, which avoids artificiality and pretension. Dryden believes that Chaucer’s poetry, though written in an older form of English, has a timeless quality that speaks to readers of all generations.

Dryden’s Personal Reflections

The Preface is also notable for Dryden’s personal reflections on his career as a translator and poet. By the time he wrote this work, Dryden was in his late sixties and was reflecting on his life’s achievements. He acknowledges that his translations are not perfect and that no translation can fully capture the nuances of the original text. However, he expresses pride in his efforts to bring the works of great authors to a broader audience.

Dryden also reflects on the role of the poet in society. He believes that poets have a duty to entertain and instruct their readers, using their works to explore moral and philosophical questions. He sees himself as part of a long tradition of poets and translators who have contributed to the preservation and dissemination of literary culture.

Conclusion of the Preface

In the concluding section of the Preface to Fables Ancient and Modern, Dryden reiterates his admiration for Chaucer, Homer, Ovid, and Boccaccio. He expresses his hope that his translations will help preserve the works of these great authors and introduce them to a new generation of readers. Dryden sees his role as a translator as both an honor and a responsibility, and he believes that his efforts will contribute to the ongoing development of English literature.

Importance of the Preface to Fables Ancient and Modern

The Preface to Fables Ancient and Modern is significant for several reasons:

1. Insight into Dryden’s Views on Translation: The preface offers a detailed discussion of Dryden’s approach to translation, which balances fidelity to the original text with the need to adapt it for contemporary readers. This approach has influenced later translators and remains a key aspect of translation theory.
2. Critical Appreciation of Chaucer: Dryden’s praise of Chaucer helped to solidify Chaucer’s reputation as one of the greatest English poets. His translations of Chaucer’s works introduced them to a wider audience and ensured their continued relevance.
3. Comparison of Ancient and Modern Writers: The preface provides valuable insights into Dryden’s views on classical and modern literature, offering comparisons between authors like Homer, Ovid, Chaucer, and Boccaccio. This comparative approach enriches our understanding of the literary tradition and the ways in which different authors have contributed to it.
4. Reflections on Poetry and Literary Greatness: Dryden’s reflections on the nature of poetry and literary greatness offer a timeless perspective on what makes a poet truly great. His emphasis on character, moral complexity, and style continues to resonate with readers and critics today.
5. Legacy of Dryden as a Critic: The Preface is one of Dryden’s most important critical works, showcasing his deep knowledge of literature and his ability to articulate complex ideas about translation, poetry, and literary tradition.

Conclusion

John Dryden’s Preface to Fables Ancient and Modern is a remarkable piece of literary criticism that offers valuable insights into the art of translation, the nature of poetry, and the comparative merits of ancient and modern authors. Through his thoughtful reflections on Chaucer, Homer, Ovid, and Boccaccio, Dryden demonstrates his deep respect for the literary tradition while also advocating for the adaptability and evolution of literature to suit contemporary tastes. This work remains a crucial text for anyone interested in the history of English literature, translation theory, and the role of the poet in society.

Dryden’s Views on Drama

Dryden was deeply interested in drama, and his criticism often revolved around this genre. He famously addressed the classical “unities” of time, place, and action, which were essential to Aristotelian drama. While Dryden acknowledged the value of these unities, he argued that English drama’s strength lay in its emotional power and complexity, elements that sometimes required bending the rules of classical structure.

Dryden and Poetic Theory

In addition to his views on drama, Dryden also contributed significantly to poetic theory. He believed that poetry’s primary function was to delight and instruct, a concept rooted in classical criticism. Dryden also advocated for the use of heroic couplets, a style that would dominate English poetry for much of the 18th century. His thoughts on the role of poetry in society reflected his belief in the moral responsibility of poets to educate and elevate their readers.

Contribution to Neoclassical Criticism

John Dryden is often credited with being a major proponent of neoclassical criticism, which emphasized clarity, order, and rationality in literature. This movement, which looked back to the ideals of the classical period, advocated for restraint in artistic expression, a focus on decorum (appropriateness), and adherence to formal rules. However, Dryden’s criticism was not rigid; he allowed for flexibility, recognizing that sometimes literary works could transcend strict rules while still achieving greatness.

The Concept of Decorum in Dryden’s Criticism

Decorum, or the idea that each element of a literary work should be appropriate to its context, was central to Dryden’s critical philosophy. He believed that language, style, and character should all be suited to the subject matter. In his works, Dryden emphasized the importance of balancing artistic freedom with adherence to literary norms, encouraging writers to maintain a harmony between their content and their form.

Impact of Dryden on Later Criticism

Dryden’s influence on subsequent generations of critics cannot be overstated. His works laid the foundation for the more formalized literary criticism of the 18th century, particularly influencing figures such as Alexander Pope and Samuel Johnson. Dryden’s ability to merge classical theory with modern ideas helped to shape the development of literary criticism as a respected field of study.

Criticisms of Dryden’s Theories

While Dryden’s contributions to criticism were groundbreaking, his theories were not without their detractors. Some later critics, particularly those of the Romantic period, rejected his neoclassical emphasis on order and restraint, preferring instead the emotional intensity and imaginative freedom found in poets like Wordsworth and Coleridge. Nonetheless, Dryden’s work remains foundational for understanding the development of English literary criticism.

John Dryden’s Place in Literary History

As both a poet and a critic, John Dryden holds a prominent place in English literary history. His ability to engage with classical traditions while addressing the literary concerns of his time has ensured his lasting relevance. For students of English literature, Dryden’s works provide essential insights into the evolution of criticism, making him a figure whose influence continues to be felt.

Conclusion

John Dryden’s contributions to literary criticism are vast and enduring. His works bridge the gap between classical criticism and modern literary analysis, making them indispensable for students and scholars alike. Dryden’s reflections on drama, poetry, and decorum, along with his defense of English literature, continue to inspire and educate, solidifying his place as one of the most influential critics in English literary history.

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FAQs

1. What are the main works of John Dryden in literary criticism?
John Dryden’s main works in literary criticism include An Essay of Dramatic Poesy and the Preface to Fables Ancient and Modern. These works provide insights into his views on drama, poetry, and translation.

2. How did the Restoration period influence Dryden’s criticism?
The Restoration brought a shift toward the celebration of arts and drama, and this environment shaped Dryden’s critical views. He embraced the freedom of artistic expression while still adhering to classical principles.

3. What are Dryden’s views on drama?
Dryden believed that while classical rules of drama (such as the unities) were important, English drama’s strength lay in its emotional depth and complexity, even if it sometimes broke these rules.

4. What are Dryden’s contributions to neoclassical criticism?
Dryden helped establish neoclassical criticism, emphasizing clarity, order, and decorum in literature. He believed in balancing creativity with adherence to classical rules.

5. How did John Dryden influence modern literary critics?
Dryden’s blend of classical theory and modern ideas influenced critics like Alexander Pope and Samuel Johnson, laying the groundwork for formal literary criticism in the 18th century.

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