Old Rules, New Ideas: A Drama Discussion

 What’s Better? Classical vs. Modern Drama

◉Why John Dryden is Called the Father of English Criticism

This excerpt from a YouTube video discusses the important role of John Dryden in the history of English literary criticism. The conversation highlights why Dr. Samuel Johnson gave Dryden the famous title of the "father of English criticism." The speakers explain that Dryden was a key figure during the Neoclassical period, a time when writers and critics looked back to classical thinkers like Aristotle and Plato for inspiration.

Although Dryden was deeply influenced by Aristotle's ideas especially from Poetics, where Aristotle defined tragedy and the concept of imitation (mimesis) Dryden did not simply copy these ideas. Instead, he built on them and shaped his own views. He introduced a three-part definition of a play that reflected both classical influence and his own modern thinking.

Dryden’s Three-Part Definition of a Play:

1. A play should be a "just and lively image of human nature." This means it should represent real people, their actions, and their behavior honestly and clearly.

2. It should express the "passions and humors" of people. In simple terms, this refers to human emotions and personalities. the things that make characters feel real and relatable.

3. A play must aim for "delight and instruction." Dryden believed that drama should not only entertain the audience but also teach them something about life, morality, or human nature.

This idea of combining pleasure and moral teaching is a very Neoclassical way of thinking, but Dryden added something more a touch of realism. Unlike the rigid classical rules followed by the French dramatists, Dryden believed that a playwright should be allowed some freedom to reflect the real complexities of life. He didn’t insist on strict unities (like unity of time and place) in every play, which made his views more flexible and closer to modern ideas.

The video also compares Dryden with Plato and Aristotle. While Plato was more critical of poetry and drama (he thought it could mislead people), Aristotle defended it by saying that imitation in art helps us understand and feel emotions like pity and fear. Dryden follows Aristotle’s general idea of imitation, but he also adds his own belief that drama should reflect real life more clearly and connect with the audience emotionally.

My Perspective:

From my point of view, Dryden’s approach feels like a bridge between the old and the new. He respected classical traditions, but he also understood that art must change with time and speak to people in a way they can understand. His balance between structure and creativity shows that good criticism isn’t about following rules blindly. it’s about knowing when to follow them and when to adapt them.

In today’s world, where audiences enjoy both entertainment and meaning in stories, Dryden’s idea that a play should both delight and instruct still feels very relevant. His work reminds us that drama is not just about performance. it's a mirror of life, emotion, and human experience

◉Dryden as Critic & Title of the Essay

Understanding John Dryden’s Place in Literary History: A Human Touch

John Dryden, a leading neoclassical poet and critic, lived and wrote in a time that came right after the Elizabethan age. While the Elizabethan era was famous for its wild imagination and romantic freedom, the neoclassical period Dryden’s world reacted against that style and looked for something different.

Here’s a simple and heartfelt explanation of Dryden’s critical approach and why his work, "An Essay of Dramatic Poesy," matters:

1. Neoclassical Era and Dryden’s Balanced Approach

• The neoclassical writers admired ancient masters like Horace and Aristotle, seeking order and rules in art.

• But not everyone followed the classics blindly. Some got stuck copying old ideas without thinking, while others wanted to bring fresh energy.

• Dryden understood this well. He realized his time needed a kind of “safe and tested guidance” a way to honor the classics but also make space for new creativity.

• He noticed that some of his friends and fellow writers sometimes became too strict or narrow-minded getting lost in “dark alleys of fundamentalism” that made literature feel cramped and dull.

• So, through his essay, Dryden (speaking as his character Neander) tried to find a middle ground. He suggested we should take the best from the classics and also appreciate the freedom of the Elizabethans.

• This shows Dryden wasn’t a blind follower of old rules. he believed literature should never be trapped by strict doctrines, but always allow space for creativity and change.

2. Why the Title "Dramatic Poesy"?

• Dryden wrote many plays, mostly in verse, so he saw drama as a kind of poetry “dramatic poesy.”

• As both a writer and a thinker, he wanted to reflect deeply on drama and set a strong critical foundation for it.

• His essay connects the dots  from Philip Sidney and Horace to Aristotle. linking his ideas to a long tradition of drama and criticism.

• Importantly, Dryden wanted to stand up for his own time’s drama against the Romantic playwrights like Shakespeare, Webster, and Marlowe, who were more free-spirited and emotional.

• He believed neoclassical drama deserved to be seen as independent and courageous, not just a copy of the past or reaction to the Elizabethans.

• By connecting to tradition, Dryden gave neoclassical drama a solid historical foundation while also asserting its modern identity.

• Finally, the essay aimed to guide his fellow playwrights and critics, encouraging balance and moderation in how drama was practiced in his own day.

My Take on Dryden’s Vision

Dryden’s work feels like a conversation between the old and the new. he respects tradition but knows that art must breathe and grow. His middle-path approach reminds us that creativity flourishes best when it honors the past but also welcomes innovation.

In a world where art often swings between strict rules and wild freedom, Dryden’s call for balance is a lesson we can still appreciate today.

◉Dryden's Definition of a Play

After watching the video on Dryden’s Definition of a Play, I found that his ideas about drama are not just technical or academic. they actually feel quite practical and human. Dryden wasn’t just laying down rules; he was trying to help writers create plays that reflect real life and connect with the audience in a meaningful way.

Let’s break it down in simple points:

1. A Play Should Be a “Just and Lively Image of Human Nature”

This is the heart of Dryden’s definition. It sounds formal, but it really means this:

• A play should show real people, behaving in real ways.

• It should feel natural and alive, not fake or overly theatrical.

• It’s about capturing how people actually are their emotions, their struggles, and their personalities.

2. “Just” Means Natural and Honest

• The word “just” here stands for truthfulness in representation.

• Dryden didn’t want plays to feel forced or artificial.

• He believed that characters should behave like real humans not like exaggerated heroes or villains.

3. “Lively” Means Engaging and Full of Life

• A play should not be boring or stiff it should be dynamic and emotionally engaging.

• It’s not just about copying real life; it’s about bringing real life to the stage in a way that feels fresh and vibrant.

• The audience should feel like they’re watching something real unfold, not a lifeless imitation.

4. Drama Should Reflect Human Nature

• For Dryden, plays are about exploring humanity.

• He emphasized showing both passions (deep emotions) and humors (personal quirks or traits).

• The play should reflect all sides of life the serious and the funny, the emotional and the rational.

5. “Delight”  More Than Just Fun

• Dryden chose the word “delight” instead of “pleasure” for a reason.

• Pleasure might be shallow or temporary. But delight is deeper, more meaningful, and can even bring peace of mind.

• A good play should touch the heart and leave the audience feeling satisfied in a deeper way.

6. “Instruction”  Teaching Through Entertainment

• Dryden also believed that a play should teach something, but not in a boring or preachy way.

• He knew that people don’t always like being told what to do but they will listen if the message is delivered through a good story.

• That’s why he talked about “delightful instruction” mixing fun with wisdom.

My Perspective on Dryden’s Definition

I really appreciate Dryden’s way of thinking. His definition of a play feels balanced and timeless.

What stands out to me most is that he respected the audience. He knew that people come to the theatre not just to be entertained, but also to feel something real to think, to laugh, to reflect, and maybe even to grow.

He didn’t want drama to be all rules, nor all freedom. Instead, he looked for a middle ground where art can be both beautiful and meaningful, truthful and imaginative.

Even today, when we watch movies or plays that make us feel deeply and think differently about life, we’re still living out Dryden’s idea of “delightful instruction.”

◉ Comparative Criticism of the Ancients, the Moderns and the French Playwrights | John Dryden

John Dryden’s Essay of Dramatic Poesy is a key work in English literary criticism. It presents a thoughtful debate between four fictional characters Eugenius, Crites, Lisideius, and Neander each representing different opinions about drama.

Here’s a simple breakdown based on Prof. Dilip Barad’s video lecture:

⇝What Is the Essay About?

• Dryden wrote this essay to defend English drama and show that it doesn’t always need to follow the rules of ancient writers.

• The essay is written as a dialogue between four friends during a boat ride on the Thames.

• It reflects the cultural and political climate of the Restoration period (after King Charles II returned to the throne), when England was rebuilding its identity including its literature.

⇝Eugenius: The Voice of the Moderns

• Eugenius supports the modern (especially English) writers.

• He believes modern playwrights have added new ideas instead of just copying the ancients.

• He respects the classics but says we should also value English writers like Shakespeare and Jonson.

• Eugenius questions rigid classical rules like the Three Unities (of time, place, and action).

• He supports plays that include love scenes, emotions, and variety, saying they reflect real life better.

• He argues that the English style is original and not simply copying the French.

• In the video, it's suggested that Eugenius might secretly reflect Dryden’s own views, supporting freedom, creativity, and English literary pride.

⇝Crites: Defender of the Ancients

• Crites represents the classical tradition, firmly rooted in ancient Greek and Roman drama.

• He believes drama should follow fixed rules, such as:

  • Unity of time, place, and action.

  • Separation of tragedy and comedy.

• He praises French plays, which strictly follow these classical rules.

• Crites criticizes English drama for being messy, mixing genres, and ignoring structure.

• He believes discipline and order are essential to great drama.

⇝The Bigger Debate: Freedom vs. Rules

The entire essay is a friendly argument between:

• Crites, who believes we should stick to classical traditions.

• Eugenius, who believes in evolving drama and giving writers more freedom.

Dryden doesn’t directly say who is right but many believe he leans toward Eugenius’s liberal and balanced view.

My Perspective on Dryden’s Essay

I really liked how Dryden didn’t take an extreme side. Through Eugenius, he supports progress and change, but without disrespecting tradition.

To me, that feels like a very modern and healthy approach. He’s saying:

 “Learn from the past but don’t be afraid to do things your own way.”

In today's world, where creativity often clashes with rules, Dryden's middle path is still relevant. His essay encourages us to value our own voice, our own language, and our own culture even as we learn from others

◉Debate regarding appropriateness of Rhyme and Blank verse | John Dryden | An Essay

At the very end or the "fag end" of John Dryden’s Essay of Dramatic Poesy, a very interesting literary debate takes place. It’s all about one key question:

Should serious plays, especially tragedies, be written in rhyme or in blank verse?

Dryden presents both sides of this debate through two characters:

• Neander (Dryden’s mouthpiece): Supports rhyme in serious drama.

• Crites: Opposes rhyme, defends blank verse and natural speech.

Let’s break it down simply and clearly.

 Crites’ View: "Keep Drama Natural, Drop the Rhyme!"

Crites is a traditionalist. He believes drama should sound like real life, and rhyme just doesn’t help.

His Arguments:

1. Rhyme Feels Fake
   Rhyme brings artificiality into drama, making it less “just and lively”—two things that drama should always be.

2. Unrealistic Conversations
   He mocks the idea of people scolding servants or arguing emotionally in rhyme.
   "Would you really rhyme when you're angry?"
   Obviously not. So why should characters?

3. It's a Burden for Writers
   Forcing rhymes can make the writing feel stiff and unnatural, limiting expression.

 Neander’s View: "Rhyme Can Elevate Tragedy!"

Neander, speaking for Dryden (at least partially), responds with a strong defense of rhyme but with some conditions.

His Arguments:

1. Use Rhyme Only in Serious Plays
   He agrees that rhyme shouldn’t be used in everyday or comic scenes. But in serious, tragic plays, it fits the tone and mood.

2. Adds Grandeur
   Rhyme gives the language a majestic, elevated feel, which suits the seriousness of tragedies.

3. Heightens Emotional Impact
   Referring to Aristotle, Neander says tragedy should present life as "better than real life."
   Rhyme helps lift the drama into that higher emotional space.

4. A Skilled Poet Can Make It Work
   Yes, rhyme is artificial but a talented writer can hide the art and make it feel natural.

5. Audiences Enjoy Rhyme
   Neander emphasizes the "delight" that rhyme offers. People love rhythm, music, and memorable lines it enhances their experience.

 A Bit of Irony: What Dryden Said vs. What He Did

Now, here’s the twist:

 Even though Neander (Dryden’s character) strongly supports rhyme...

 Dryden’s most famous tragedy, All for Love, is written in blank verse, not rhyme!

This suggests:

• Dryden may have changed his mind after writing the essay.

• The essay itself might have helped him see that naturalness is sometimes better than rigid poetic form.

• It shows his growth as a critic and playwright, learning from his own arguments.

 My Take: It’s About Balance

This debate is more than rhyme vs. blank verse. It’s about what makes drama feel real and powerful.

Both sides make good points:

• Crites reminds us to stay real and relatable.

• Neander shows us the beauty and artistry that poetry can bring.

Dryden’s journey shows that even great thinkers are allowed to rethink their views. And sometimes, that’s how real progress in art and writing happens.

 Final Thought:

Whether you write in rhyme, blank verse, or plain speech what truly matters is impact.

Can your words move people? Can they feel real and beautiful at the same time?

That’s the timeless challenge of drama and Dryden's essay reminds us that the answer might just lie somewhere in between.

 ◉Controversy regarding the Rhymes lines vs the Blank Verse

In John Dryden’s An Essay of Dramatic Poesy, there’s an interesting debate between two characters: Crites and Neander.

Their topic?

Should plays especially tragedies be written in rhyme or in blank verse?

This debate reflects two contrasting views on how drama should sound and feel to the audience. Let’s explore both sides simply.

 Crites: “Rhyme Doesn’t Feel Natural”

Crites stands up for blank verse and is firmly against rhyme in serious plays.

 His Key Points:

• Rhyme feels forced
  He believes no one speaks naturally in rhyme it sounds planned and fake, not like real life.

• Drama should reflect real human nature
  Since people don’t speak in rhyme, using it in plays breaks the illusion of reality.

• Even blank verse isn’t perfect
  Interestingly, he admits that even blank verse may not always represent natural speech but it’s still less artificial than rhyme.

 Neander: “Rhyme Adds Beauty and Grandeur”

Neander (who often speaks for Dryden’s personal views) defends rhyme, especially in tragedy and serious drama.

 His Key Points:

• Drama is both visual and musical
  He says that drama should please the ears as well as the eyes.
  The sound of language its rhythm, pitch, and music matters.

• Rhyme creates charm and elegance
  Neander compares rhyme to sugar-coating a sweet, artistic layer that enhances the impact of language.

• It suits serious art forms
  In tragedy, rhyme adds nobility and dignity. It makes the language feel grand and elevated.

• Requires true skill
  Good rhyming doesn’t come easy it takes real craftsmanship to make rhyme sound natural and meaningful.

What’s Really Going On Here?

This isn’t just about rhyme or blank verse. It’s a deeper question:

Should drama sound like real life? Or should it aim for something more artistic and elevated?

• Crites leans toward realism and simplicity.

• Neander values artistic beauty and poetic impact.

Both have valid points and that’s what makes the debate so timeless.

 Dryden’s Personal Touch

Since Neander represents Dryden’s voice in the essay, we get a glimpse of how Dryden valued rhyme especially for its poetic and aesthetic power.

But interestingly...

Dryden’s most famous tragedy, All for Love, is written in blank verse, not rhyme!

This shows that even though he supported rhyme in theory, he later chose realism and natural flow in practice.

 My Perspective

This debate shows the tension between art and reality.
Rhyme may not be realistic but it sure is beautiful.
Blank verse may sound natural but can it always stir the soul?

Maybe, as Dryden’s own journey shows, the real magic happens when we know how to balance both.

 FOR TASK

difference between Aristotle's definition of Tragedy and Dryden's definition of Play

⏺ Aristotle’s Famous Definition

From his book Poetics, Aristotle says (in essence):

"Tragedy is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions."

Now, let’s break that down.

1. “Imitation of an action” (Mimesis)

• Meaning: Tragedy shows us life, but not by telling — it imitates or enacts events.

• Example: In Oedipus Rex, we don’t just hear someone say “Oedipus found out the truth”; we see the events unfold on stage.

2. “Serious”

• Meaning: The subject should be important and weighty — not silly or trivial.

• Example: It deals with life’s big questions: fate, justice, morality, death.

3. “Complete”

• Meaning: The story must have a clear beginning, middle, and end. It should feel whole.

• Example: A tragedy starts with a situation, moves through rising problems, and ends with resolution (often the hero’s downfall).

4. “Certain magnitude”

• Meaning: The plot must be long enough and significant enough to be meaningful, but not so long that it becomes boring.

• Example: The events should be on a scale that feels important — not petty squabbles, but matters of kingdoms, family honor, life and death.

5. “Embellished language”

• Meaning: The language should be artistic — using rhythm, poetry, and sometimes song.

• Example: Greek tragedies often had choral odes, poetic speeches, and carefully chosen words.

6. “In the form of action, not narrative”

• Meaning: The story is shown by characters acting and speaking, not just told by a narrator.

• Example: A play shows the battle on stage (or its results), rather than someone simply narrating it.

7. “Through pity and fear”

• Pity: We feel sorry for the hero because they are basically good but face misfortune.

• Fear: We feel afraid because what happens to them could also happen to us.

• Example: In Macbeth, we pity him for being led astray, and we fear ambition’s destructive power in ourselves.

8. “Catharsis”

• Meaning: This is the emotional “cleansing” or release we feel at the end.

• Watching tragedy helps us process emotions in a safe way, leaving us emotionally balanced.

• Example: After Romeo and Juliet, we feel sad but also strangely at peace.

In Simple One-Line Definition

A tragedy is a serious, complete story acted out on stage, using beautiful language, showing events that make us feel pity and fear, and leaving us emotionally cleansed.

⏺ Dryden's definition of Play

Where it Comes From

Dryden gives his definition in his critical essay "An Essay of Dramatick Poesie" (1668).
He was influenced by Aristotle, but also by the tastes of Restoration England.

Dryden’s Definition 

Dryden says:

“A play is just and lively image of human nature, representing its passions and humours, and the changes of fortune to which it is subject, for the delight and instruction of mankind.”

1. “Just and lively image of human nature”

• Just: True to life, believable  not exaggerated beyond reality.

• Lively: Full of energy, movement, and feeling; not dull.

• Meaning: A play should show people as they really are  their strengths, weaknesses, joys, and struggles.

• Example: Shakespeare’s Hamlet feels “real” because his doubts, emotions, and mistakes are like those of actual humans.

2. “Representing its passions and humours”

• Passions: Strong emotions like love, hate, jealousy, fear.

• Humours: In Dryden’s time, “humours” meant dominant personality traits (like being hot-tempered, melancholy, or overly optimistic).

• Meaning: A play should explore how emotions and personality drive human actions.

• Example: In Othello, jealousy (a passion) and trusting nature (a humour) shape the hero’s fate.

3. “Changes of fortune”

• Meaning: Life is full of ups and downs; plays should reflect that.

• Example: In a tragedy, the hero may fall from success to ruin. In a comedy, the characters may go from trouble to happiness.

4. “To which it is subject”

• Meaning: People can’t fully control their fate  chance, society, and flaws in character all influence what happens.

• Example: In King Lear, mistakes and bad luck together bring disaster.

5. “For the delight and instruction of mankind”

• Delight: A play should entertain   make us feel emotions, laugh, or stay engaged.

• Instruction: It should also teach  giving moral lessons, insights into life, or wisdom.

• Meaning: Drama should balance pleasure and usefulness. A good play is enjoyable and meaningful.

• Example: The Merchant of Venice entertains with witty dialogue but also raises questions about justice and mercy.

In Simple One-Line Definition

For Dryden, a play is a realistic and energetic picture of human life, showing emotions, personality, and life’s ups and downs, written to both entertain and teach.

difference

Aristotle’s Tragedy	Dryden’s Play
Focuses only on tragedy  a serious, complete action meant to evoke pity and fear, ending in catharsis (emotional cleansing).	Covers all kinds of plays  both comedy and tragedy  aiming for delight (entertainment) and instruction (moral lesson).
Based on classical Greek rules of drama (unity, seriousness, poetic language, action not narration).	More broad and flexible, shaped by Restoration taste, realism, and human nature.
Purpose: Emotional effect  to purge strong feelings through the tragic story.	Purpose: Balance of enjoyment and learning from life-like representation.
Emphasis: Structure and emotional impact of the tragic plot.	Emphasis: Realistic depiction of human passions, humours, and changes of fortune.

🔘Why I Support the Moderns in Dryden’s Essay

           I would side with the Moderns. While I respect the achievements of the Ancients, I believe the Moderns have refined dramatic art to make it more natural, flexible, and suited to present-day audiences. The Ancients followed strict rules like the unities, which sometimes limited the scope of a play. The Moderns, as Dryden argues, adapt these rules when necessary, focusing instead on the truth of human nature and the enjoyment of the audience. Their dialogue is closer to real speech, their characters more lifelike, and their plots more varied. In my view, drama should not be confined to the models of the past but should evolve with its time, and the Moderns embody that spirit of innovation while still honoring tradition.

🔘 "Why I Prefer English Plays Over French Plays"

           I don’t fully agree with the arguments in favour of the French plays and against the English plays. While the French are strict about rules and avoid showing things like death or large battles on stage, this often makes their plays less lively and less engaging. English plays, though less “perfect” in form, feel more real and exciting because they mix serious and comic scenes, show action directly, and use multiple plots to keep the audience interested. In my view, drama should move the emotions, and the English style does this better, even if it bends the rules.

🔘"Why I Choose Poetic Dialogues"

            I prefer poetic dialogues because they make the play feel more artistic and timeless. Poetry can turn even simple ideas into something powerful and memorable. The rhythm, imagery, and choice of words create an emotional impact that plain prose often can’t match. When characters speak in poetry, it lifts the scene above ordinary life and makes the audience feel they are experiencing something special and meaningful.