An Essay on Dramatic Poesy by John Dryden
An Essay on Dramatic Poesy by John Dryden
This blog is written as a task assigned by the head of the Department of English (MKBU), Prof. and Dr. Dilip Barad Sir. Here is the link to the professor's research article for background reading: Click here
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Q.-1.|Discuss any differences you observe between Aristotle's definition of Tragedy and Dryden's definition of Play.
Ans.
Aristotle and Dryden offer distinct definitions of tragedy and play, reflecting their different cultural contexts and artistic philosophies.
Aristotle's Definition of Tragedy:
Aristotle defines tragedy in his 'Poetics' as "an imitation of an action that is serious, complete, and of a certain magnitude." He emphasizes the emotional impact of tragedy, particularly through the concepts of catharsis, which refers to the purification of emotions through pity and fear. Aristotle believes that a tragedy should evoke these feelings to achieve a sense of balance and beauty, stating that "tragedy is an imitation of an action that is serious and has magnitude."
Aristotle also outlines the essential components of tragedy, including plot, character, and the tragic hero, who typically experiences a downfall due to a hamartia or tragic flaw. This structure is meant to lead the audience through a journey of emotional engagement and reflection.
Dryden's Definition of Play:
In contrast, John Dryden, in his 'An Essay of Dramatic Poesy,' presents a broader definition of plays that includes both tragedy and comedy. He asserts that "a play is a just (exact) and lively image of human nature, representing its passions and humours." Dryden emphasizes the importance of character and dialogue, suggesting that a play should reflect the complexities of human behavior and social interaction.
Unlike Aristotle, who focuses on the moral and emotional effects of tragedy, Dryden sees plays as a medium for exploring human nature in all its forms, including humor and folly. He argues that both tragedy and comedy serve to entertain and instruct, stating, "the end of all plays is to represent virtue and vice, and to make us better by the representation."
Key Differences:
Focus:
Aristotle's tragedy centers on emotional impact and moral lessons through suffering, while Dryden's play encompasses a wider range of human experiences, including humor.
Structure:
Aristotle emphasizes a structured plot with a tragic hero, while Dryden allows for more flexibility in character development and thematic exploration.
Purpose:
For Aristotle, tragedy aims for catharsis and moral reflection; for Dryden, plays serve to mirror human nature and entertain while providing moral insights.
These differences highlight the evolution of dramatic theory from Aristotle's classical framework to Dryden's more inclusive approach, reflecting changes in audience expectations and artistic expression.
Q.-2.|If you were to express your personal preference, would you side with the Ancients or the Moderns? Provide reasons for your choice.
Ans.
In the ongoing debate between the Ancients and the Moderns, I believe a balanced approach that combines the strengths of both traditions can lead to the most nuanced and enriching understanding of literature. While the Ancients offer valuable insights into structure and adherence to classical rules, the Moderns bring important innovations that expand the possibilities of literary expression.
The Ancients: Structure and Classical Rules:
Aristotle, in his seminal work 'Poetics,' emphasizes the importance of structure in tragedy, defining it as "an imitation of an action that is serious, complete, and of a certain magnitude." He argues that a well-crafted plot is essential, with a focus on unity of action, time, and place. This adherence to classical rules creates a sense of order and coherence that can be deeply satisfying to the audience. Shakespeare's tragedies, like 'Hamlet' and 'Macbeth', while innovative, often reflect Aristotelian principles in their tragic arcs and character development.
Aristotle also highlights the emotional impact of tragedy, particularly through the concept of catharsis, which refers to the purification of emotions through pity and fear. He believes that a tragedy should evoke these feelings to achieve a sense of balance and beauty. This structured approach can lead to works of great depth and resonance.
The Moderns: Innovation and Flexibility:
John Dryden, representing the Moderns in his 'An Essay of Dramatic Poesy,' acknowledges the value of innovation and a more flexible interpretation of dramatic rules. He asserts that "the best plays are those that are most like life," suggesting that the complexities of human nature should dictate form rather than classical constraints. This perspective allows for greater creativity and exploration of diverse themes and styles.
Dryden also emphasizes the importance of character and dialogue, arguing that plays should reflect the nuances of human behavior and social interaction. This focus on character development can lead to richer, more multifaceted portrayals of the human experience.
A Balanced Approach:
While I appreciate the Ancients' commitment to structure and the emotional power it can evoke, I also recognize the value of the Moderns' emphasis on innovation and flexibility. A balanced approach that combines the best elements of both traditions can result in works that are both aesthetically pleasing and intellectually stimulating.
Q.-3.|Evaluate whether the arguments presented in favor of French plays and against English plays are appropriate. For example, consider the portrayal of death, duel fights with blunted swords, the representation of large armies by a few actors, the mingling of mirth and serious tones, and the use of multiple plots.
Ans.
In John Dryden's 'An Essay on Dramatic Poesy,' he presents arguments both in favor of French plays and against English plays, addressing various aspects such as the portrayal of death, duel fights, representation of armies, the mingling of tones, and the use of multiple plots. A balanced analysis of these arguments reveals strengths and weaknesses in both the French and English theatrical traditions.
Portrayal of Death and Duel Fights:
Dryden critiques the English tendency to portray death in a manner that lacks the gravitas found in French drama. He argues that French plays handle death with "a more majestic and serious air," which elevates the emotional impact on the audience. He states, “The French have a more noble way of dying” compared to the often exaggerated and melodramatic deaths in English plays. This highlights the French emphasis on decorum and dignity in tragic moments.
Regarding duel fights, Dryden criticizes the English practice of using blunted swords, which he feels diminishes the seriousness of the conflict. He notes that “the French do not shun the danger of a real duel,” suggesting that their approach adds authenticity and intensity to the drama. This can be seen as a strength of French plays, as they maintain a sense of realism that enhances the audience's engagement.
Representation of Armies:
Dryden also points out the limitations of English plays in representing large armies. He observes that English dramatists often resort to a few actors to depict what should be a grand spectacle, stating, “They can represent an army of a hundred men with a dozen.” This contrasts with the French tradition, which he argues is better at creating a sense of scale and grandeur, thereby enhancing the dramatic effect.
Mingling of Mirth and Serious Tones:
One of Dryden's notable critiques of English plays is their struggle to balance mirth and serious tones. He argues that English playwrights often fail to integrate humor and tragedy effectively, leading to a disjointed experience for the audience. In contrast, he admires the French for their ability to blend these elements seamlessly, creating a more cohesive narrative. He suggests that “the French have a knack for mixing the serious with the comic,” allowing for a richer emotional palette.
Use of Multiple Plots:
Dryden acknowledges the complexity of using multiple plots, which is a hallmark of many English plays. However, he also suggests that this can lead to confusion and a lack of focus. He states, “The English often entangle their plots,” which can detract from the overall impact of the play. Conversely, he appreciates the French preference for a singular, well-developed plot, which he believes leads to a more satisfying resolution.
Conclusion:
In evaluating Dryden's arguments, it becomes clear that both French and English plays have their strengths and weaknesses. French plays excel in their portrayal of death, authenticity in duel fights, representation of armies, and the blending of tones. However, they may lack the intricate plotting that characterizes some English dramas. English plays, while often innovative in their structure, can suffer from melodrama and a failure to maintain emotional coherence.
Ultimately, a balanced approach that incorporates the strengths of both traditions could lead to a richer theatrical experience. By learning from the French emphasis on decorum and emotional depth, while also embracing the English tradition of complex narratives, playwrights could create works that resonate more profoundly with audiences. Dryden’s analysis serves as a reminder of the value of both traditions in shaping the evolution of drama.
Q.-4.|State your preference for poetic or prosaic dialogues in a play and explain your reasoning.
Ans.
In John Dryden's 'An Essay on Dramatic Poesy,' he engages in a critical examination of poetic versus prosaic dialogues in plays, ultimately expressing a preference for poetic dialogue. His arguments highlight the aesthetic and emotional depth that poetic language can provide, while also acknowledging the merits of prosaic dialogue.
Poetic Dialogue: Aesthetic and Emotional Depth:
Dryden advocates for poetic dialogue by emphasizing its ability to elevate the emotional experience of the audience. He argues that poetry possesses a rhythm and musicality that enhances the dramatic effect, stating, “The poet’s words are not only to be understood but to be felt.” This sentiment aligns with Aristotle’s notion in 'Poetics' that poetry is an imitation of action that should evoke emotional responses, particularly through the use of elevated language and structure.
Moreover, Dryden appreciates how poetic dialogue can encapsulate complex emotions and ideas succinctly. He notes that “the best poetry is that which is most like nature,” suggesting that poetic forms can still reflect genuine human experiences while transcending ordinary speech. This is evident in the works of playwrights like Shakespeare, whose use of iambic pentameter and rich imagery allows for profound expressions of human emotion, as seen in Hamlet’s soliloquies.
Prosaic Dialogue: Realism and Relatability:
Conversely, Dryden acknowledges the strengths of prosaic dialogue, particularly its capacity for realism and relatability. He points out that prosaic speech can make characters more accessible and relatable to the audience, allowing for a deeper connection to the narrative. He argues, “In a well-written play, the language should reflect the characters’ social status and emotional state,” highlighting the importance of authenticity in dialogue.
However, while prosaic dialogue can enhance realism, Dryden suggests that it often lacks the emotional resonance of poetic dialogue. He critiques the tendency of some English playwrights to prioritize realism at the expense of emotional depth, stating, “To be natural is not always to be true.” This reflects a concern that, without the embellishment of poetic language, dialogues can become mundane and fail to engage the audience fully.
Conclusion:
In evaluating the arguments presented by Dryden, it becomes clear that while prosaic dialogue has its merits in terms of realism and relatability, poetic dialogue offers a unique capacity to evoke deeper emotional responses and encapsulate complex ideas. Dryden’s assertion that “the poet’s art is to express the inexpressible” underscores the value of poetic language in capturing the nuances of human experience.
References:
1. Barad, Dilip. “An Essay on Dramatic Poesy: John Dryden.” ResearchGate, June 2012, https://doi.org/10.13140/RG.2.2.20320.87040.
2. ---. “Aristotle’s Poetics.” ResearchGate, Aug. 2023, https://doi.org/10.13140/RG.2.2.31696.28164.
