But if this incorrect Essay, written in the Country without the help of Books, or advice of Friends, shall find any acceptance in the world, I promise to my self a better success of the second part, wherein the Vertues and Faults of the English Poets, who have written either in this, the Epique, or the Lyrique way, will be more fully treated of, and their several styles impartially imitated.
Neander says that Aristotle demands a verbally artful "lively" imitation of nature, while Crites thinks that dramatic imitation ceases to be "just" when it departs from ordinary speech—i.
Even Tully had a Controversie with his dear Atticus; and in one of his Dialogues makes him sustain the part of an Enemy of Philosophy, who in his Letters is his confident of State, and made privy to the most weighty affairs of the Roman Senate.
Corneille sayes judiciously, that the Poet is not oblig'd to expose to view all particular actions which conduce to the principal: So, moderns are greater poets and superior to the ancients. Aristotle indeed divides the integral parts of a Play into four: Lisideius shows that the French plots carefully preserve Aristotle's unities of action, place, and time; Neander replies that English dramatists like Ben Jonson also kept the unities when they wanted to, but that they preferred to develop character and motive.
But this cannot be brought to pas but by many other imperfect ones which conduce to it, and hold the Audience in a delightful suspence of what will be. Violent actions take place off stage and are told by messengers rather than showing them in real.
As for their new way of mingling mirth with serious Plot I do not with Lysideius condemn the thing, though I cannot approve their manner of doing it: 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.
He relies heavily on Corneille - and through him on Horace - which places him in a pragmatic tradition. For the Ancients, as was observ'd before, took for the foundation of their Playes some Poetical Fiction, such as under that consideration could move but little concernment in the Audience, because they already knew the event of it.
I will not deny but by the variation of painted Scenes, the Fancy which in these cases will contribute to its own deceit may sometimes imagine it several places, with some appearance of probability; yet it still carries the greater likelihood of truth, if those places be supposed so near each other, as in the same Town or City; which may all be comprehended under the larger Denomination of one place: To read Macrobius, explaining the propriety and elegancy of many words in Virgil, which I had before pass'd over without consideration, as common things, is enough to assure me that I ought to think the same of Terence; and that in the purity of his style which Tully so much valued that he ever carried his works about him there is yet left in him great room for admiration, if I knew but where to place it.
We see it so in the management of all affairs; even in the most equal Aristocracy, the ballance cannot be so justly poys'd, but some one will be superiour to the rest; either in parts, fortune, interest, or the consideration of some glorious exploit; which will reduce the greatest part of business into his hands.
Eugenius, more optimistic, disagrees and suggests that they pass the remainder of the day debating the relative merits of classical and modern literature. And this, in short, Eugenius, is the reason, why you have now so few good Poets; and so many severe Judges: He proposes that Crites choose one literary genre for comparison and initiate the discussion.
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 they have miss'd: They tie themselves so strictly to the unity of place, that you never see in any of their Plays a Scene changed in the middle of the Act: Before going deep into the essay, please read this para first.
Jul 10, · Dryden in Defense of An Essay. John Dryden whom Walter Scott named "Glorious John" writes Essay of Dramatic Poesy or An Essay of Dramatick Poesie () which is, "the most elaborate and one of the most attractive and lively" of his winforlifestats.com: English Literature.
John Dryden’s Of Dramatic Poesie (also known as An Essay of Dramatic Poesy) is an exposition of several of the major critical positions of the time, set out in a semidramatic form that gives. An Essay of Dramatick Poesie By John Dryden Edited by Jack Lynch. Dramatick Poesie.  It was that memorable day, in the first Summer of the late War, when our Navy ingag'd the Dutch: a day wherein the two most mighty and best appointed Fleets which any age had ever seen, disputed the command of the greater half of the Globe, the commerce.
An Essay of Dramatic Poesy by John Dryden: An Overview An Essay of Dramatic Poesy gives an explicit account of neo-classical theory of art in general. Dryden is a neoclassic critic, and as such he deals in his criticism with issues of form and morality in drama.
However, he is not a rule bound critic, tied down to the classical unities or to. Essay of Dramatic Poesie is a work by John Dryden, England's first Poet Laureate, in which Dryden attempts to justify drama as a legitimate form of "poetry" comparable to the epic, as well as defend English drama against that of the ancients and the French.
Dryden: An Essay of Dramatic Poesy [John Dryden] on winforlifestats.com *FREE* shipping on qualifying offers. This is a pre historical reproduction that was curated for quality.
Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization winforlifestats.com: John Dryden.Essay on dramatic poesie by john