Among the many landmark works in the history of literary criticism, John Dryden’sEssay on Dramatic Poesystands out for both its intellectual depth and its stylistic form. Composed in 1668 during the Restoration era, this essay not only critiques different schools of dramatic art but also presents an innovative way of writing literary discussions. One of the most intriguing aspects of this work is its form it is not written as a traditional essay but adopts a unique style that blends critical thought with dramatic dialogue. Understanding the stylistic approach of this essay is essential to appreciating its place in English literature and literary theory.
The Dialogic Structure of the Essay
Rather than using a formal expository or analytical style, Dryden’sEssay on Dramatic Poesyis written as a dialogue among four characters. This dialogic format draws inspiration from classical philosophical works, most notably the dialogues of Plato. The four speakers Crites, Eugenius, Lisideius, and Neander each represent different perspectives on drama. Through their conversation, Dryden is able to present multiple arguments, counterarguments, and comparative insights into classical versus modern drama, English versus French theatre, and the merits of rhyme versus blank verse.
Characters as Stylized Voices
Each of the characters in the essay functions as a mouthpiece for particular critical standpoints
- Critesadvocates for the classical dramatists of ancient Greece and Rome.
- Eugeniusargues in favor of the modern dramatists, particularly the English playwrights.
- Lisideiusprefers French drama for its refinement and adherence to the classical unities.
- Neander, often seen as Dryden’s own voice, supports the English dramatists while appreciating some elements of other traditions.
By using these characters, Dryden constructs a multi-voiced discussion that reflects the complexity of literary criticism. The dialogic style allows for a balanced presentation without forcing the reader into a single perspective.
Style Influenced by Renaissance Humanism
Dryden’s choice of style is deeply influenced by Renaissance humanism, which emphasized classical learning, rational discourse, and the revival of ancient literary forms. Writing in the Restoration period, Dryden drew on humanist models that favored the dialogue as a method of exploring ideas through conversation rather than didactic exposition. This style reflects the intellectual trends of the time, where wit, reason, and rhetorical elegance were highly valued.
Conversational Yet Intellectual Tone
The tone of the essay is notably conversational but never shallow. The dialogue is filled with sophisticated references to Aristotle, Horace, Shakespeare, Ben Jonson, and other literary figures. Yet it is framed in a way that is accessible to an educated but non-specialist audience. The essay avoids heavy jargon and instead relies on logical argumentation, literary examples, and rhetorical flair to persuade readers.
Comparative Criticism Through Dialogue
One of the central achievements of Dryden’s style inEssay on Dramatic Poesyis how it enables comparative criticism. Rather than declaring one tradition superior, the dialogue allows for back-and-forth exchanges that explore the strengths and weaknesses of each. For instance, Lisideius praises the French playwrights like Corneille and Racine for their strict adherence to rules, while Neander counters by emphasizing the emotional richness and variety of English drama, particularly in the works of Shakespeare.
Use of Illustrative Examples
The dialogic format makes it easier for Dryden to integrate illustrative examples within the flow of discussion. Each character supports his argument with references to specific plays, scenes, or dramatic techniques. This illustrative method helps readers visualize the abstract arguments and grounds the theoretical discussion in practical analysis.
Rhetorical Devices and Classical Allusions
The essay’s style is rich in rhetorical devices such as antithesis, analogy, and irony. These elements not only enhance the literary quality of the text but also mirror the structure of theatrical dialogue. Dryden’s prose is rhythmically elegant and often poetic, reflecting his dual identity as a poet and critic.
Classical allusions are frequent, lending the essay an air of authority and historical depth. Characters reference Aristotle’sPoetics, the unities of time, place, and action, and the traditions of Greek tragedy. These references anchor the essay in a long lineage of dramatic theory, showing how Dryden’s work is both a continuation and a critique of earlier literary ideas.
The Essay as a Product of Restoration Literature
The Restoration era was a time of political, social, and artistic revival in England following the Puritan Commonwealth. Theaters reopened, and playwrights returned to the stage with new energy and forms. Dryden’s essay reflects the spirit of this time questioning old norms while embracing innovation. The dialogic style fits perfectly with an age that valued public discourse, performance, and intellectual debate.
Why Style Matters
The style ofEssay on Dramatic Poesyis not a mere literary choice it shapes the very content and function of the text. By writing in dialogue, Dryden dramatizes the act of criticism itself. He turns theoretical discussion into a performative exchange, embodying the principles of drama while analyzing them. This makes the essay a living conversation rather than a static treatise.
Legacy of the Dialogic Style
Dryden’s stylistic innovation influenced generations of critics and essayists. Later figures such as Samuel Johnson, Alexander Pope, and even modern literary theorists have echoed elements of his approach. The dialogic essay became a model for engaging, multi-perspective literary criticism. In educational settings,Essay on Dramatic Poesyis still studied not only for its content but also for its form, which encourages readers to think critically and comparatively.
Essay on Dramatic Poesyis written in a dialogic style that combines the clarity of conversation with the depth of critical thought. This stylistic choice enables Dryden to present a balanced exploration of dramatic traditions and theories, making the essay an enduring work in the canon of English literary criticism. Far from being a dry academic document, it is a vivid and lively discussion that reflects the theatricality it seeks to understand. The style is integral to the essay’s function, transforming literary criticism into a performance of ideas.