Literary Theory Essay on Dryden’s ‘an Essay on Dramatic Poesy’

religion, psychology, and linguistics. Neoclassicists believed that writers should aim for excellence by imitating past great writers instead of trying to be original and inventive.

The core of Art is the act of reinventing and rediscovering, along with the idea of nature. Nature, which is closely associated with imitation, encompasses crucial, everlasting, and universal aspects of the real world and human behavior. Neoclassical writers like Homer and Aristotle asserted that the ancients had already explored and articulated the fundamental principles governing nature. Consequently, contemporary writers can depict the external world and human deeds effectively by imitating the path established by their ancient predecessors.

Invention was allowed, but only as a modification of previous models, not as a complete departure. John Dryden, a Neo-classical theorist, is known for supporting the theory and use of ancient Greek and Roman writers, as well as his belief in the importance of expanding and improving upon the rules established by these ancients. Dryden and his contemporaries considered the ancients to be their role models. When mentioning "the ancients," they generally meant the ancient writers.

Seneca, Terence, Plautus, Virgil, Horace, Juvenal, and Pindar were all influential ancient Roman writers in their respective genres. Among them, Dryden held great admiration for Virgil and considered him as his master and guide. Dryden emphasized the importance of following classical models while also introducing innovation and originality. He believed that poetry should progress alongside the advancements in other arts and sciences instead of regressing. Rather than simply imitating the ancient writers, he advocated for building upon their models and experiences. In contrast to Aristotle's perspective, Dryden argued that a play's plot was

not its most crucial element; instead, he believed that the author's language, diction, and thoughts formed the foundation of a play.

In his essay "An essay on Dramatic Poesy," John Dryden discusses his opposition to the strongly conventionalized characters and plots of Roman comedies. He advocates for a wider imitation of nature while also acknowledging the benefits of structural simplicity. However, he believes that the interest of the plot and characters lies in their variety rather than just a well-defined structure. Variety allows us to recognize human behavior, real life, and the essence of nature. Dryden's essay provides a clear explanation of the neoclassical theory of art.

The essay, written in the form of a dialogue among four gentlemen, discusses the defense of classical drama and its reflection of human nature. Neander, seemingly speaking for Dryden himself, supports the classical drama by stating that it imitates life. In contrast, Eugenius criticizes the flaws of the classical playwright and takes the side of modern English dramatists. Crites, on the other hand, defends the ancient era and argues against the use of rhyme in plays. He believes that while moderns excel in science, ancient times were the true age of poetry.

He argues that poetry is no longer highly regarded and criticizes the abundance of harsh judges in the current atmosphere. According to him, the ancients diligently imitated and keenly observed nature, a practice that is lacking in modern plays. He asserts that the ancients left us with a flawless representation of nature, which we have distorted and distorted like poor imitators who overlooked it. Lesideius defends French playwrights while criticizing the English inclination

to mix genres.

According to Dryden, a play is a vivid portrayal of human nature with its passions and moods, reflecting the fluctuations of fortune that affect it. The purpose of a play is to entertain and educate people. This definition differs greatly from Aristotle's, as Aristotle defines tragedy not as the portrayal of 'human nature' but as the imitation of a serious and complete action. Neander, who represents Dryden's viewpoint, supports the moderns, while also showing respect for the ancients. He criticizes the strict rules of drama and defends the use of rhyme when it is appropriate.

According to Neander, tragic comedy is the optimal form of a play because it closely mirrors life, where emotions are amplified by a combination of laughter and sadness. He criticizes the Ancients for exclusively focusing on either tragedy or comedy, asserting that it is simpler to achieve perfection by honing one's expertise. Neander emphasizes the importance of balancing natural talent with technical control; a skilled writer must have a deep understanding of the emotions being portrayed and avoid becoming overwhelmed by them in order to maintain believability. Additionally, he believes that subplots are vital for enhancing a play's depth.

Neander supports the disregard of the unities of time, place, and action as it contributes to the variety in English plays. He argues that these unities restrict the play's scope. Disregarding the unities allows English dramatists to present a more realistic and vibrant representation of human nature. Neoclassicism involved a return to the literary styles, values, and models of ancient Greek and Roman authors. However, if Dryden is considered neoclassical, it is because he acknowledges

that the classics have provided prototypes for drama, but contemporary writers are free to create their own prototypes and develop their own literary traditions.