Between Classical Rulesand English Freedom
A Critical Reading of John Dryden's An Essay of Dramatic Poesy
Reading Dryden Through Four Critical Questions
As part of my study of John Dryden's An Essay of Dramatic Poesy, I explored the ideas presented in Prof. Dr. Dilip Barad's learning resources and selected two questions from the given critical task for detailed reflection. These questions encouraged me to move beyond simply summarising Dryden's arguments and to develop my own critical understanding of drama, literary rules, artistic freedom, and poetic language.
In this blog, I focus especially on the relationship between classical tradition and English dramatic freedom. I examine how Dryden's definition of a play differs from Aristotle's definition of tragedy, and I consider the debate between the Ancients and the Moderns. I also reflect on the contrast between French and English dramatic practice and the controversy surrounding rhyme and blank verse.
The video lectures and the accompanying material helped me see Dryden not simply as a critic who follows classical rules, but as a critic who negotiates between tradition, experience, reason, and creative freedom. I also connect Dryden's ideas with Sir Philip Sidney's understanding of poetry as an art that can both teach and delight.
Classical Discipline + English Imagination = Dryden's Critical Balance
My Critical Roadmap
Aristotle vs Dryden
How does Aristotle's tragedy differ from Dryden's definition of a play?
Ancients vs Moderns
Which tradition do I personally prefer, and why?
French vs English
Are the arguments supporting French drama convincing?
Poetic vs Prosaic
What kind of dramatic dialogue do I prefer?
Aristotle and Dryden: A Comparative Chart
| Aristotle | Point of Comparison | Dryden |
|---|---|---|
| Tragedy | Focus | Play / Drama |
| Serious action | Representation | Human nature |
| Pity and fear | Emotional effect | Passions and humours |
| Catharsis | Purpose | Delight and instruction |
Dryden's Critical Triangle
His criticism develops through the interaction of three forces:
RULES
Aristotle • Order • Decorum • Unity
FREEDOM
Shakespeare • Variety • Imagination
Dryden tests literary rules against actual dramatic practice.
Ancients or Moderns?
Rules
Classical models
Variety
Human experience
I prefer the Moderns because their greater freedom allows drama to represent the complexity and variety of human experience. However, I do not reject classical discipline; I find the combination of order and freedom more productive.
French and English Drama
| French Drama | English Drama |
|---|---|
| Greater regularity | Greater freedom |
| Strong concern for decorum | More imaginative stage practice |
| Avoidance of certain violent actions | More direct dramatic action |
| Separation of tragic and comic elements | Mixture of tragedy and comedy |
| Tighter structure | Multiple plots and wider variety |
From Sidney to Dryden
A Connection Between Renaissance and Neoclassical Criticism
SIDNEY
Imitation
Imagination
Teach & Delight
Golden World
DRYDEN
Drama
Human Nature
Rules & Practice
Delight & Instruction
Literature should offer more than mere entertainment.
Rhyme or Blank Verse?
RHYME
Elevation
Musicality
Formal pattern
BLANK VERSE
Natural rhythm
Flexibility
Dramatic speech
Blank verse for serious drama, while recognising that rhyme can create special poetic and dramatic effects.
Works Cited
Barad, Dilip. “Dryden's Essay: Of Dramatic Poesie: Short Video Lectures and Quiz.” Dilip Barad's Blog, 16 Sept. 2015. https://blog.dilipbarad.com/2015/09/drydens-essay-on-dramatic-poesy-short.html .
Barad, Dilip. “An Essay on Dramatic Poesy: John Dryden.” ResearchGate, June 2012. https://www.researchgate.net/publication/373767836_An_Essay_on_Dramatic_Poesy_John_Dryden .
Dryden, John. An Essay of Dramatic Poesy. 1668.
Barad, Dilip. Sir Philip Sidney's Defence of Poesie. SlideShare presentation, 2014.
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