DRYDEN’S INVOLVEMENT IN NEO-CLASSICISM.

 

An Essay on Dramatic Poesy as a Neo-Classical Theory of Literature

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DRYDEN’S INVOLVEMENT IN NEO-CLASSICISM

 

Dryden’s “An Essay of Dramatic Poesy” delves into the theory of neoclassicism. It explores the principles and ideals of classical drama, discussing topics such as the three unities, the role of the audience, and the importance of verisimilitude.

Dryden’s “An Essay of Dramatic Poesy” delves into the theory of neoclassicism. It explores the principles and ideals of classical drama, discussing topics such as the three unities, the role of the audience, and the importance of verisimilitude. The idea of verisimilitude refers to the quality of being true to life or resembling reality. In the context of drama, it means creating a believable and realistic portrayal of characters, events, and settings. It aims to make the audience feel like they are experiencing something genuine and plausible. Verisimilitude is an important aspect of neoclassical drama, as it emphasizes the adherence to truth and naturalism in storytelling.

                                 Dryden argues that classical drama should follow the three unities of time, place, and action, which means that the events of the play should take place within a single day, in one location, and revolve around a central plot. He emphasizes the importance of verisimilitude, stating that the characters and events in a play should be true to life and realistic. Dryden defends the use of verse in drama, believing that it elevates the language and adds beauty to the performance. He praises the unity of plot, advocating for a clear and focused storyline that avoids unnecessary subplots or digressions. Dryden values the moral function of drama, stating that it should teach and instruct the audience, providing them with moral lessons and insights into human nature. These examples illustrate Dryden’s support for the principles of classical drama, which emphasize unity, realism, beauty, coherence, and moral purpose.

                          Dryden also compares both Shakespeare and Jonson through the lens of neoclassicism. By understanding the definition of drama, Shakespeare is not considered to be the true neoclassical dramatist while Jonson is the true neoclassical dramatist. Shakespearean comedies and tragedies promote pleasure to the audience but lacks moral purpose at the end. On the other hand, Jonson’s play promotes both pleasure to the audience as well as the moral purpose which makes his plays neoclassical in its entirety. This is the most important criticism that Dryden gives in the essay.