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Reading List (A) Bibliography (B) Further Reading John Dryden (9 August 1631 – ) was a prominent English poet, critic, translator, and playwright who dominated the literary life of the Restoration Age; therefore, the age is known as the Age of Dryden.(III) How many speakers are there in The Essay on Dramatic Poesy? Please note that you need to create a NEW ACCOUNT (only first time), and then only you will be able to work.
Dryden admires ___________ and loves _____________. Dryden agrees in general terms with Aristotle’s definition of poetry as a process of imitation though he has to add some qualifiers to it. When it comes to the Unity of Place, they are equally careful.
The generally accepted view of poetry in Dryden’s day was that it had to be a close imitation of facts past or present. In most of their plays, the entire action is limited to one place. Their plays are never over-loaded with sub-plots as is the case with the English plays. To check you answers, click Literary_Criticism_Page_2. Based on the definition of the play, Neander suggests that English playwrights are best at "the lively imitation of nature" (i.e.,human nature).
Its dialogue form has often been criticized as inconclusive, but actually, as in most dialogues, there is a spokesman weightier than the others.
Dryden carried out his critical thoughts effectively, stating his own ideas but leaving some room for difference of opinion.
Dryden would also regard such exercises as ‘imitation’ since it is drawing on “other men’s fancies”. (ii) Compare your answer with those given at the end of the unit. The English are guilty of the folly, while the French are not. The Plots of the French tragedies are based on well-known stories with reference to the theory and practice of the Ancients. He suggests that the use of well-ordered sub-plots makes the plays interesting and help the main action. (1) Fill in the blanks: (XIV)In this article French Poesy is compared with ___________.
(iii) To work on the SAQs through Moodle LMS and get instant feedback and score click here. But these stories are transformed for dramatic purposes; in this regard they are superior even to the Ancients. Further, he suggests that English plays are more entertaining and instructive because they offer an element of surprise that the Ancients and the French do not. (XIVI)The newer French writers are imitating _________________.While Dryden has no problem with the prevalent neo-classical bias in favour of verisimilitude (likeness/fidelity to reality) he would also allow in more liberties and flexibilities for poetry. The attention of the English playwrights is constantly diverted from one action to the other, and its due effects. French poesy is beautiful; it is beautiful like a "statue".In the The Grounds of Criticism in Tragedy he makes out a case for double-legged imitation. (XXXIX) The French do not burden their play with _____________ . This fault of double-action gives rise to another fault till the end. He even says that the newer French writers are imitating the English playwrights.Dryden was both a writer and a critic and he had rather a dogmatic bent.Most of his critical interpretations are found in the prefaces to his own works. Crites’s Arguments in favour of the Ancients 1.3.5. Dryden’s mature thoughts of literary criticism on ancient, modern and English Literature, especially on Drama, are presented in dialogue forms in An Essay on Dramatic Poesy. Eugenius Arguments on Superiority of Moderns over the Ancients 1.3.4. He was a Cambridge Scholar, literary genius and critic, considering his extraordinary literary contribution was credited with the honour of Poet Laureate of England in 1668. His critical observation of contemporary reality is reflected in Mac Flecknoe(1682).While the poet is free to imitate “things as they are said or thought to be”, he also gives spirited defence of a poet’s right to imitate what could be, might be or ought to be. Lisideius therefore concludes: no drama in the world is as absurd as the English tragic-comedy. One fault he finds in their plots is that the regularity also makes the plays too much alike.He cites in this context the case of Shakespeare who so deftly exploited elements of the supernatural and elements of popular beliefs and superstitions. The French plays also have much variety but they do not provide it in such a bizarre manner. He defends the English invention of tragi-comedy by suggesting that the use of mirth with tragedy provides "contraries" that "set each other off" and gives the audience relief from the heaviness of straight tragedy.Neander's overall statement on the literary standards is that, the norms can be added to make the work ideal, but the norms will not improve a work which does not contain some degree of perfection.And as Dryden believes, we may find writers like Shakespeare who did not follow the rules but are nevertheless obviously superior to any "regular" writer.