Dryden's life, works, Writing style

I am writing this blog as a task assigned by our Head of English Department MKBU DR.Dilip Barad sir. In this blog I will present my point of view on 6 video based on Dryden's life, works and writing style. Click Here

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John Dryden: The Father of English Criticism

When we talk about criticism in English literature, one name stands out—John Dryden. Dr. Samuel Johnson once called Dryden the “father of English criticism,” and this title is well deserved. But why does Dryden hold such an important position, and how did he shape our way of understanding literature and drama?

Why Is Dryden Called the Father of English Criticism?

Before Dryden, English criticism lacked a clear sense of direction. Philip Sidney was one earlier critic, but his contribution, while valuable, was much less extensive than Dryden’s. Sidney’s works on criticism were published after his death and don’t cover as much ground. Dryden, on the other hand, produced a large body of critical writing and introduced key ideas that shaped the future of criticism.

He gave us definitions, rules, and frameworks—much like Aristotle did in ancient Greece. Dryden’s extensive essays and prefaces, such as his “Essay of Dramatic Poesy,” form the backbone of early English literary criticism.

Dryden as a Neo-Classical Critic

Dryden is often called a neo-classical critic. That means he was influenced by ancient critics like Aristotle and Longinus. Neo-classical critics believed in order, reason, and rules—all inspired by classical models. Dryden admired these thinkers, but he didn’t just copy them blindly.

Instead, Dryden adapted classical ideas for English literature, bringing his own perspective. For example, he described what a play should be—not just following Aristotle’s ideas, but also adding something new.

Dryden’s Definition of a Play

Dryden’s most famous contribution is his definition of a play. He said a play should:

 Give a “just and lively image of human nature.”

Represent “passions and humours” and show how fortunes change.

Provide both “delight and instruction” to the audience.

This is different from Plato, who saw poets as mere copiers of reality, and Aristotle, who focused on tragedy’s power to cause catharsis (emotional cleansing). Dryden insisted that a play should show life as it is, with real feelings and changing situations, and should aim to entertain as much as to teach.

Realism and Unique Insights

One of Dryden’s special qualities was his sense of realism. Earlier critics valued “the ideal,” showing people at their best. But Dryden focused on real life, on how people actually act and feel. He believed that the changing “passions and humours” of characters made drama more true to life.

John Dryden: The Critic Who Shaped Modern Literature

John Dryden is recognized as one of the most important literary critics in English literature. But what made Dryden special, and why do people call him the “father of English criticism”?

Dryden’s Time and His Role

Dryden lived just after the Elizabethan age, a period known for poetry full of rich imagination and romance. In Dryden’s era—the Restoration—many writers wanted to return to rules and order, looking back to great ancient thinkers like Aristotle and Horace. This movement is called neoclassicism.

However, not every neoclassical writer was the same. Some only followed old rules blindly, while others looked for new ways to mix tradition and creativity. Dryden stood out because he wanted a balanced approach. He respected classical traditions but did not follow them without question. Dryden believed in learning from the past and also using his own judgment.

The Famous Essay: “Of Dramatic Poesy”

One of Dryden’s top achievements is his essay, “Of Dramatic Poesy.” In this essay, Dryden explained his views on drama and literature. He made up characters that debate the strengths of the Elizabethan drama (like Shakespeare) and the new neoclassical style. This lively discussion helped writers think about what makes drama enjoyable, realistic, and meaningful.

Dryden said a good play must be both beautiful and useful. It should teach a lesson but also entertain. He defended English drama for its ability to mix emotions, humour, and a true sense of life, even if it sometimes broke strict rules. Dryden stressed that artists need freedom, not just rules.

Why “Dramatic Poesy”?

Dryden picked the title “Dramatic Poesy” because he wrote both poems and plays. He wanted to show how drama was an art form equal to poetry. The essay stands as a flag for drama’s independence and value, proving that English plays didn’t have to copy Europe’s strict traditions.

Lasting Influence

Dryden’s criticism combined classical wisdom with flexible thinking. He avoided narrow thinking and encouraged writers to blend tradition with their creativity. Dryden’s works created a foundation for future critics and writers, influencing names like Alexander Pope and Samuel Johnson

John Dryden’s Definition of a Play: Bringing Life to the Stage

John Dryden is remembered as one of the most influential critics and writers in the history of English literature. One of his most important ideas was his definition of a play, which still shapes how we think about drama today.

A Play Is a “Just and Lively Image of Human Nature”

Dryden didn’t just want plays to tell stories. According to him, a good play should be a “just and lively image of human nature.” This means that drama should not feel fake or artificial, but should show real life, emotions, and experiences. To Dryden, plays should be true to life, capturing the spirit and range of human feelings.

He believed plays should be natural, without too much artifice or self-consciousness. Audiences connect better with characters who seem real—whose joys, sorrows, and problems mirror their own.

Delight, Humour, and Instruction

Dryden’s definition highlights three major purposes of drama:

Liveliness and Humour: He thought a play must be lively, filled with energy and humour. It should make the audience smile or laugh, reflecting the colourful variety of life itself.

Delight: Dryden focuses on “delight,” a word deeper than mere pleasure. While pleasure might be momentary and sensual, delight is lasting and uplifting—it gives the audience joy, satisfaction, and even peace of mind.

Instruction: Drama, according to Dryden, should also teach or instruct. But the lesson works best when it’s woven into the story and makes people think, rather than being delivered as a dry or boring rule.

More Than Imitation

Some critics before Dryden thought plays were just about copying reality. Dryden, however, believed a play does more than “imitate.” It presents and represents human experience in a lively way, guiding the audience to see themselves and the world differently.

Impact on Restoration Literature

Dryden’s definition of a play became a foundation for later writers and critics. It set the standard for what made English drama special—its honesty, humour, and heart. With his ideas, people learned to judge and appreciate plays not just by their stories, but by how genuinely and delightfully they reflected human life.

The video “Comparative Criticism of the Ancients, the Moderns and the French Playwrights” by John Dryden presents a fascinating exploration of the development of literary criticism and drama over different historical periods. Dryden delves into the distinctions between the classical literary traditions of the Ancients and the newer approaches embraced by modern writers, particularly focusing on French playwrights and the unique contributions of English literature.

John Dryden strongly advocates for a balanced understanding and appreciation of both classical and modern literature. He emphasizes the importance of respecting traditional English literary values while acknowledging the innovations brought by later writers. The lecture discusses the classical unities of time, place, and action—rules that governed ancient drama—and compares them with how the French dramatists adapted or sometimes challenged these rules to create fresh and appealing works that resonated with their audiences.

The video also addresses the lively debate during Dryden’s era between maintaining strict adherence to classical forms and welcoming new ideas that expanded the boundaries of literature. Dryden suggests that tradition and innovation need not be in conflict. Instead, modern writers can build upon classical foundations while introducing new themes and techniques to reflect contemporary culture and emotions.

Furthermore, the lecture touches on themes such as sacrifice, emotional expression, and the reflection of society through literature. Dryden highlights how drama serves as a mirror of the times, influenced by political, social, and cultural changes. His discussion encourages students and literary enthusiasts to look deeply into how literature evolves and thereby better understand its ongoing significance.

This video is especially useful for those interested in literary criticism, theatre history, and cultural studies. It offers a clear and engaging overview of the complex relationship between historical literary traditions and modern creativity. Ultimately, Dryden’s insights remind us that good literature respects its roots while inviting innovation, helping us appreciate the dynamic nature of art and storytelling across generations. This balanced view enriches our understanding of both the past and present literary worlds

This video "Debate regarding appropriateness of Rhyme and Blank verse John Dryden An Essay" discusses a famous literary controversy about whether serious plays should be written with rhymes or in blank verse. The debate is presented through two characters, Neander and Crispus, who argue opposing views.

Neander supports using rhyme in serious plays, believing that rhymes add grandeur, pleasure, and a sense of elevated style to the drama, fitting the serious nature of tragedy. However, Crispus disagrees, stating that rhyming can feel artificial and unnatural, making the play seem less genuine and disrupting the natural flow of speech.

The video explains that Neander tries to defend rhyming by claiming that less serious or everyday scenes (like servants arguing) can be avoided in serious rhyme plays to maintain dignity. He also argues that rhyme increases the audience’s enjoyment, as it heightens the emotional and aesthetic effect of the performance.

Interestingly, despite Neander’s strong defence, John Dryden himself later moved away from writing serious plays in rhymed verse, choosing instead blank verse for one of his famous plays “All for Love.” This indicates Dryden’s own evolving views on the best form for drama, leaning towards a more natural style as championed by Crispus.

This debate captures a key moment in literary history about balancing tradition and innovation in poetry and drama. It highlights how artistic choices about form affect both the writing and audience experience. The video is valuable for students of literature and theatre interested in understanding this major artistic discussion from the time of Dryden. It shows that even celebrated writers questioned and adapted their styles to better serve their art

The video "Controversy regarding the Rhymes lines vs the Blank Verse" presents a detailed discussion on the long-standing debate in literature about whether rhymed verse or blank verse is more suitable for dramatic poetry, especially tragedy.

The debate involves several characters, including Neander, who strongly advocates for the use of rhyme in serious plays. Neander believes that rhyme brings a noble and grand quality to the drama, adding sweetness and musicality that enhances the audience's pleasure. He argues that rhyme, when used skilfully, supports the seriousness of tragedy by elevating the language and the emotional impact of the performance.

Opposing this view, Crites argues against rhyme, suggesting that it is unnatural because it requires premeditation and careful construction. He contends that rhyme can make the dialogue seem artificial and disrupt the natural flow of speech, which should ideally reflect real human nature in a lively, just, and authentic manner. Crites also points out that blank verse, with its natural rhythm and lack of forced rhyming, better serves the depiction of human emotions and situations in drama.

The video emphasizes the importance of judgment in choosing between rhyme and blank verse. It is noted that both forms have potential merits and drawbacks, and the decision should be based on the playwright’s ability to maintain the integrity of the work’s emotional and artistic expression.

Neander particularly highlights that tragedy, as a serious form of art, benefits from the noble effort of incorporating rhyme—if the playwright possesses the literary skill to wield it well. Rhyme, in this context, is seen not merely as decoration but as an integral element that can contribute to the dignity and grandeur of the tragic art.

This discussion helps learners and literature enthusiasts appreciate the nuanced considerations behind poetic form and style in dramatic works. It reveals how literary critics and writers like John Dryden grappled with artistic choices to enhance the impact and beauty of their plays, balancing tradition, naturalness, and audience engagement.

The debate between rhyme and blank verse in dramatic poetry reflects a broader tension between tradition and innovation in literature. While rhyme can add grandeur, musicality, and heightened emotional impact to serious plays, its artificiality risks disrupting natural expression if not handled skilfully. Blank verse, on the other hand, offers a more natural and flexible medium to portray human emotions authentically. Ultimately, the choice between rhyme and blank verse depends on the playwright’s judgment and craftsmanship. This discussion highlights the importance of balancing artistic form with the need to engage and delight the audience, reminding us that both forms have valuable roles in enriching dramatic art.

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