Topic :- “Essay
of Drametic Poesy” Main Argument
Name :- Upadhyay
Devangana s.
Sub :- Literary
theory & Criticism
Paper :- 3
Std :- M.A.
Sem-1
Roll
No :- 07
Submitted to :- M.K. Bhavnagar University
“Essay of Drametic poesy” Main Argument
1. Introduction
John Drsyden was a
versatile and voluminous writer who left on branch of literature untouched and
produced works of outstanding merit in each field. He was a great poet and a
great dramatist. He was also a great prose-writer and is regarded as the
founder of modern prose style. He was also an original and discriminating
critic, so much so that Dr. Johson
called him ‘the father of English criticism’ and critic after has
agreed with this estimate.
However, the only
formal work of criticism that Dryden has left behind him is his ‘Essay of
Drametic poesy’ a work which is the unofficial manifest of him critical creed,
and a important landmark in the history of literary criticism in English.
2.
‘Essay of Dramatic poesy’ Main Argument
As a preliminary to the more
serious discussion to follow, Lisideius defines a play as;
“Drama is the lively and just 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”
3. Crites: Defence
of the Ancients; their superiority over the Moderns
A.
Among
the ancient poetry was held in high esteem and poets were highly honourd. So
there was a healthy competition among them to excel each other. Poet were
suitably rewarded. Today , they poets have no such encouragement, and they are
not suitably rewarded. So the poets do not take pains.
B.
The
Ancients were faithful imitators of nature, which is distorted and disfigured
in the drama of the day.
C.
All
the rules of dramatic composition we owe to the clssics, and we have added
nothing of our own to the rules of Aristotle and Horace.
D.
The
Ancient observed the three unities well.
1.
The
unity of Time means that the action should not take more than twenty-four hours
the natural compass of a day, and it should be equally divided between the
Acts. This rule was faithfully observed by the Ancients. The action began
somewhere towards the end of the fable, and the earlier part was delivered by
narration, The English do not follow the unity of time and therefore, they ill
represent nature.
2.
The
unity of place means that the same scene should be continued throughout, for
the stage being one place it cannot be represents as many. No doubt there may
be same variation of place by the use of painted scenery, but ever then it
should not shift to places far distant form one another. The French observe
this unity, but not the English. The unity of Action means that there should be
only one great and complete action. Two action “equally labored and driven
on by the writer, would make the play not one play but two plays. However,
there may be a number of action subservient to the main action, as in the plays
of Ben Jonson. Such under-plots must all be conducive to the main design, and be subordinated to it”
There is gross violation of there
unities in the English drama which makes it unnatural and improbable. The
superiority therefore, of the Ancients is unquestionable.
4.
Eugenius, Reply to crites : The Case for the Moderns
I.
The modern plays are superior to the Ancients because the modern have the
advantage of the experience and the rules of the ancients, as well as they have
life and nature before them which they new features which the Ancients lacked.
Just as in the arts and the sciences, the moderns have discovered much that is
new, as also on Drama.
II.
For example among the Ancients the plays were divided by Entrances not by
Acts. The division of it into Acts was not known to them; it was first given
only by Horace. So the Greeks cannot be said to have perfected the art of
poesy.
III.
Their plots were traditional, they were already knows to the people and
so lacked in novelty and pleasure. So the main aim of poesy, i.e. to cause
delight was gone.
IV.
They used stock, hackneyed plots and characters in their comedies. There
were certain types which were used in one comedy after another.
V.
Their plots being narrow, and their person few, their Acts are shorter
than even the well-wrought scenes in the Modern English plays.
VI.
There is too much of speechifying at the cost of action and hence
monotony and boredom.
VII.
There is no poetic justice in their plays : They often show a neither delight nor instruct.
VIII.
Among the Ancients comedies and tragedies were written by separate
dramatists, and not by the same person as at present. Hence, they should have
achieved perfection in the chosen branch, but they failed to do so. Hence there
is no justification for their shortcomings.
IX.
Often they are guilty of faulty diction, coinages and metaphors.
·
Lisideius :Defence of the French Drama; Demontration of the
superiority of the French over thr English
A.
The Franch observe the unities to perfection: (a)
The unity of Time they observe so well that the action in none of their plays
exceeds thirty hours. Indeed, they interpret “single revolution of the sun”
to mean 12 hours and not 24; and try to reduce all plays to this compass; (b)
They fully observe the unity of place the entire action being limited to the
spot where it began. It is rarely that they go outside the city or town; (c)
They do not burden their plots with under-plots, which divert the attention of
the audience and the readers.
B.
There is no multiplicity of action and incident in
their plays, and so there is enough time to represent one passion well and
fully instead of being hurried from one to another as in the English plays.
C.
No doubt in their plays one character is exalted
above the rest, but due attention is also paid to other character and every one
of them is gives a suitable role to play.
D.
The French manage their narration or relations much
more skillfully than the English. The narration of events antecedent to the
play, but necessary for its understanding is generally avoided with great skill
by the suitable management of the plot itself. There are relation of events
that have happened off the stage, and through such relations they avoid the
tumult and violence of the English stage. Everything cruel, obnoxious, absurd
or unnatural is thus kept stage. All passions may find a just and lively representation
on the stage, but not all actions, and dying is one of them. Narration is also
necessary to reduce the plot to a more reasonable compass of time.
E.
There are no sudden changes or conversions in their
plays, as in the English
F.
They use rhyme which is to be preferred to the
English blank verse. The use of rhyme beautifies a play.
· Neander
or Dryden: Demonstration of the superiority of the English over the French, and
of the Moderns over the Ancients.
A. There is on
doubt that the French plays are more regular, and the laws better followed, and
it is also true that the English plays have many irregularities but “ neither
our faults nor their virtues are considerable enough to place them above us”
B. They lack
the rich variety of humour in the English plays.
C. Moliere and
some other French dramatists have started mingling tragedy and comedy serious
and the gay, in the manner of the English.
D. Their plots
are too much alike to please often. They lack verity.
E. Dryden then
passes on to justify tragic comedy. He does so on the following grounds: (a)
contraries set off each other (b) a sense of mirth introduced in a tragedy
refreshes and provides relief. (c) compassion and mirth do not destroy each
other, they are found together in nature also (d) tragic-comedy is a pleasant
way of writing not known to the Ancients or to the moderns of any other nation.
F. The English
plots are copious and varied the Franch barren and narrow. They have only a
single action; we have under plots or by concernment, which however move with
the main action and so the unity of action is not destroyed. Thus there is a
combination of variety with unty and, therefore greater pleasure.
G. Their
pre-occupation with a single theme does not give them any advantage in the
expression of passion. Their verses are cold and the long speeches in their
plays are tiresome. During the performance of a French play, “ we are
concerned for our own troubles instead of being concerned for their imaginary
heroes.”
H. Long
speeches may suit the genius of the French, they do not uit the English who are
sullen people and come to the stage for refreshment.
I. Short
speeches and replies are more likely to move the passions and wit and repartee
are the chief graces of comedy. In the “ chase of wit,” the English have
reached perfection, and are superior to the French.
J. The more
the characters in a play, the greater will be the variety. Only this variety
should be so managed that there is no confusion, and this skill has been
attained by the great English dramatists, like Ben Jonson.
K. As regards
showing of violent action on the stage: (a)
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