By summing up critical evaluation of essay we can say that Dryden four speaker in this essay different views. Lisideius, after some modest denials, at last confessed he had a rude notion of it; indeed rather a description than a definition; but which served to guide him in his private thoughts, when he was to make a judgment of what others writ: I will produce Father Ben to you, dressed in all the ornaments and colours of the Ancients; you will need no other guide to our party, if you follow him; and whether you consider the bad plays of our age, or regard the good ones of the last, both the best and worst of the modern poets will equally instruct you to esteem the Ancients. It was later imported into Rome, where its plots and characters were reworked in Latin. For example plays of Corneille, there is not single one character who dose not have some in action, and who is not essential for working out of the plot. There is scarce one of them without a veil, and a trusty Diego, who drolls much after the rate of the Adventures.
And Verse I affirm to be one of these: He invades Authors like a Monarch, and what would be theft in other Poets, is only victory in him. An Old Father that would willingly before he dies see his Son well married; his Debauched Son, kind in his Nature to his Wench, but miserably in want of Money, a Servant or Slave, who has so much wit to strike in with him, and help to dupe his Father, a Braggadochio, Captain, a Parasite, and a Lady of Pleasure. Criticism flourished in England during the restoration of Stuarts. Grief and Passion are like floods raised in little Brooks by a sudden rain; they are quickly up, and if the concernment be poured unexpectedly in upon us, it overflows us: This I can testify, that in all their dramas writ within these last twenty years and upwards, I have not observed any that have extended the time to thirty hours: The wearing of the clothing of the opposite sex, either on stage or in life, is typical of many single-gender theatrical traditions, such as those of ancient Greece and Shakespearean England, in which only men performed.
Hence they must perforce use rhyme, which suits the genius of our age. There is scarce one of them without a veil, and a trusty Diego, who drolls much after the rate of The Adventures.
Tragedies and Comedies were not writ then as they are now, promiscuously, by the same person; but he who found his genius bending to the one, never attempted the other way. Whereas traditional drama is supposed to make audiences empathize with the struggle of a single, psychologically self-contained protagonist, epic drama places characters against the backdrop of the largest possible historical and political context in order that their actions do not seem inevitable or determined by private “human nature,” but instead are revealed as part of a public, man-made, and therefore alterable set of historical facts.
The English dramatists wrote their plays on new and interesting themes. Thus, like a skilful Chess-player, by little and little he draws out his men, and makes his pawns of use to his greater persons.
The spectators lost their interest in this often repeated theme. To prove this, they instance in the best of Comical Characters.
Many times they fall by it into a greater inconvenience; for they keep their scenes unbroken, and yet change the place; as in one of their newest plays, where the act begins in the street. Now what I beseech you is more easy than to write a regular French Play, or more difficult than to write an irregular English one, like those of Fletcher, or of Shakespeare. From hence likewise it arises that the one half of our actors are not known to the other. Only I think it may be permitted me to say that as it is no lessening to us to yield to some plays, and those not many of our own nation in the last age, so can it be no addition to pronounce of our present poets that they have far surpassed all the Ancients, and the modem writers of other countries.
But to do this always, and never be able to write a line without it, though it may be admired by some few pedants, will not pass upon those who know that wit is best conveyed to us in the most easy language; and is most to be admired when a great thought comes dressed in words so commonly received that it is understood by the meanest apprehensions, as the best meat is the most easily digested: He affects plainness, to cover his want of imagination: All the images of nature were still present to him, and he drew them not laboriously, but luckily; when he describes any thing, you more than see it, you feel it too.
Crites favours classical drama i. But this hinders not that there may be more shining characters in the Play many persons of a second magnitude, nay, some so very near, so almost equal to the first, that greatness may be opposed to greatness, and all the persons be made considerable, not only by eugeius quality, but their action.
An Essay of Dramatic Poesy Summary by John Dryden
Those Ancients have been faithful Imitators and wise Observers of that Nature, which is so torn and ill represented in our Plays, they have handed down to us a perfect resemblance of her; which we, like ill Copiers, neglecting to look on, have rendered monstrous and disfigured.
Now what is more unreasonable than to imagine that a man should not only light upon the Wit, but the Rhyme too upon the sudden? But suppose they are necessary in the places where he uses them, yet there no need to put them into rhyme. But he is always great when some great occasion is presented to him; no man can say he ever eugwnius a fit subject for his wit, and did not then raise himself as high above the rest of poets.
In response to crities,eugenius favors modern.
An Essay of Dramatic Poesy
We draw not therefore after their lines, but those of Nature; and having the life before us, besides the experience of all they knew, it is no wonder if we hit some airs and features which eugneius have missed: But when Laberius, a Roman Knight, at his request contended in the Mime with another Poet, he was forced to cry out, Etiam favente me victus es Laben [Even with me favoring you, Laberius, you are beaten—ed. Originally a genre of virtuoso solo performance invented by the ancient Romans.
Neither is it able to evince that; for he who wants judgment to confine his fancy in blank Verse, may want it as much in Rhyme; and he who has it will avoid errors in both kinds.
Fletcher is noted as a master of plot contrivance and character manipulation and of exaggerated speech used for dramatic effect. And Verse I affirm to be one of these: Most of the English plays represents death on the stage.
The unity of time, even Terence himself who was the best and the most regular of them has neglected: For a Play is the imitation of Nature; and since no man, without premeditation speaks in Rhyme, neither ought he to do it on the Stage; this hinders not but the Fancy may be there elevated to a higher pitch of thought than it is in ordinary discourse: Restoration dramatist john Dryden, in his essay of dramatic poesy, explained the favorable public response to the plays vy citing their universal appeal.
Also called “slapstick” in honour of the double-shafted baton carried by Arlecchino in commedia dell’artewhich, when struck against another actor in a simulated beating, made a loud slap.
An Essay of Dramatic Poesy by John Dryden | Poetry Foundation
I will grant it was not altogether left by him, and that Fletcher and Ben Jonson used it frequently in their Pastorals, and sometimes in other Plays. Dryden emphasizes the idea of decorum in the work of art.
Even far off countries shown within a single day.