This blog is written as task as a task assigned by the head of Department of English MKBU, prof. and dr. Dilip barad sir.

John Dryden: Life, Education, and Criticism

Life and Education:


John Dryden (1631–1700), born in Northamptonshire, was educated at Westminster School and Trinity College, Cambridge, where he gained a strong grounding in classics. Moving to London, he established himself as poet, dramatist, and critic. With the Restoration of Charles II, he rose to prominence, becoming Poet Laureate (1668) and Historiographer Royal (1670).

Dryden as a Critic:

Known as the Father of English Criticism, Dryden gave criticism order and seriousness. His approach was practical, comparative, and balanced adapting classical rules to English needs. His major critical works include An Essay of Dramatic Poesy (1668), Of Heroic Plays (1672), and several prefaces. His style is witty, clear, and persuasive, making him the central critic of the Restoration.

An Essay of Dramatic Poesy: Background and Form


Background:

Written during the Great Plague (1665–66) and published in 1668, the essay addresses debates of the time ancients vs. moderns, French vs. English drama and defends Shakespeare and English theatre against French criticism.

Form:

The essay is a dialogue among four speakers:

Crites – praises the ancients.

Eugenius – defends moderns.

Lisideius – supports French drama.

Neander (Dryden’s voice) – upholds English drama, valuing variety and Shakespeare’s genius.

Set as a boat ride on the Thames, the conversational form makes the essay lively and engaging.

Video 1 : Dryden as Father of English Criticism, Neo-Classical Critic, and Definition of Play



The first video introduced John Dryden as the Father of English Criticism. It explained how Dryden gave criticism a proper shape at a time when it was mostly based on scattered opinions. He brought order and clarity, showing that criticism should be thoughtful, comparative, and rooted in principles.

The video also highlighted Dryden’s role as a neo-classical critic. He respected the rules of ancient critics like Aristotle but did not follow them blindly. Instead, he believed that drama and poetry should reflect life in a lively and natural way. What I liked most was his definition of drama: he called it a just and lively image of human nature. This means a play is not a lifeless copy of reality but a creative reflection of human emotions, actions, and fortunes.

This video helped me see how Dryden stood between tradition and modernity. He valued rules, but he also defended English drama for its variety, energy, and closeness to real life. It was a simple yet powerful introduction to why Dryden’s critical voice is still remembered today.

Video 2 : The Debate on Rhyme and Blank Verse in Serious Plays



In the second video, the presenter introduces us to John Dryden again, this time emphasizing his role as a critic and delving into why he chose An Essay on Dramatic Poesy as the title of his work. The message is simple and clear: Dryden isn’t merely a poet or dramatist he’s someone who thinks deeply about literature itself. He examines not just what stories are told, but how and why they are crafted in specific forms.

The title Essay on Dramatic Poesy is unpacked as more than a label it reflects Dryden’s ambition to discuss drama poetically but with seriousness. “Dramatic poesy” suggests a creative blend: drama that transcends dry narration, and poetry that moves through action and speech. By calling it an “essay,” Dryden signals a thoughtful, reflective exploration rather than a fleeting creative piece or a formal treatise.

This framing prepares the reader really, the listener to expect a conversational yet insightful journey into drama’s nature. Rather than telling you directly what good drama is, Dryden invites you into a debate. The title itself lays the stage (quite literally) for a lively exploration where different views can emerge naturally an idea that the essay then enacts.

Video 3 : Dryden’s Definition of a Play



In this video, the speaker walks us through how John Dryden, speaking through the character Lisideius in An Essay on Dramatic Poesy, defines what a play is and it’s beautifully expressed.

Dryden says a play “ought to be a just and lively image of human nature, representing its passions and humors, and the changes of fortune to which it is subject, for the delight and instruction of mankind.” Here’s how I understood it:

“Just” means a play should reflect life in a fair and true way not exaggerated or fake.

“Lively” means it should engage us, stir emotions, and feel authentic not dull or mechanical.

It should portray human passions, moods, and fortunes making characters and their journeys feel real and relatable.

Finally, it should both entertain ("delight") and teach ("instruction"), striking a balance between pleasure and meaning. 

This definition makes the purpose of drama feel both noble and practical Dryden isn’t after empty imitation, but a dynamic, thoughtful portrayal of human life. It’s not just about what happens on stage; it’s about how those moments resonate, move us, and teach us something about ourselves.

Video 4 : A Friendly Look at Comparative Criticism Ancients, Moderns & French Drama



In this video, the writer brings us into the heart of Dryden’s big debate Ancients versus Moderns, and where French drama fits in. It’s presented simply yet smartly, just like Dryden would’ve liked.

Here’s how I understood it:

The video frames the debate through the four speakers in An Essay on Dramatic Poesy Crites defends the Ancients, Eugenius champions Moderns, and Lisideius admires French drama, with Dryden himself speaking as Neander. It’s lively, respectful, and engaging.

Crites (Ancients) argues that the Ancients are unmatched because the Moderns simply imitate them. They followed dramatic rules (like unities of time, place, action) carefully and molded dramatic art with genius. Their plays were polished, principled, and faithful to a timeless standard of excellence.

Eugenius (Moderns) takes a different view. Yes, Moderns learned from the Ancients but they didn’t just copy. They improved. They introduced acts and scenes, gave more attention to character detail, and made plays more dynamic and relatable. He also critiques Ancient plays for sometimes being too talky or stagnant.

Lisideius (French Drama) brings in French drama’s precision and elegance how they stuck close to classical rules and created visually impressive works. But they could also feel cold or rigid.

Neander (Dryden’s voice) weaves balance into the mix: he respects the Ancients’ authority, appreciates French finesse, but ultimately stands by English drama for its energy, freedom, and ability to feel alive. He praises subplots, genre-mixing, and encounters skepticism of rigid unities believing that variety and emotional flow capture real life better.

This video helped me see Dryden as a fair-minded thinker, not a follower or a rebel. He’s celebrating tradition and innovation together, always searching for what truly moves the human spirit on stage.

Video 5 : Dryden on Rhyme vs. Blank Verse



In this video, the focus is on one of the most interesting debates in Dryden’s Essay on Dramatic Poesy whether serious drama should be written in rhyme or in blank verse. The video presents the two sides of the argument through the characters in Dryden’s dialogue.

Crites argues against rhyme. According to him, drama is meant to imitate natural speech, and since ordinary people don’t talk in rhyme, blank verse is closer to real conversation. He even recalls Aristotle’s view that tragedy should come as close to prose as possible. For him, rhyme in serious plays feels artificial and distracts from the natural flow of thought.

On the other hand, Neander who speaks for Dryden defends rhyme. He believes that rhyme, when used carefully, adds beauty, discipline, and emotional power to the play. He points out that it is not rhyme itself that is a problem but how it is handled. With run-on lines and varied rhythms, rhyme can be made to sound natural. Neander also feels rhyme is the noblest form of verse, especially suited for elevated themes in tragedy, since it refines the imagination and gives a special charm to language.

The video closes by showing Dryden’s balanced view: blank verse has dignity and closeness to natural speech, but rhyme has its own charm and strength. Instead of rejecting one completely, Dryden highlights the importance of skill and balance in using either form.

Video 6 : The Controversy – Rhyme Lines vs. Blank Verse



In this video, the debate over rhyme versus blank verse in drama takes center stage once again, and it’s as lively as you'd expect from Dryden’s essay.

the video unfolds through the voices of Dryden’s fictional speakers:

Crites argues passionately against rhyme. He feels that drama should imitate natural speech, and since real conversation doesn’t rhyme, blank verse is the more truthful option. He leans heavily on classical ideals, suggesting that rhyme can introduce an artificial stiffness into elevated dramatic situations.

Then comes Neander, Dryden’s own voice in the essay. He balances Crites’ stance, admitting that rhyme can feel artificial if poorly used. But he also argues that rhyme, when handled skillfully, brings elegance, rhythm, and emotional charge to a play. Neander believes that rhyme can elevate the poetic impact of serious drama if it avoids forced patterns and instead flows naturally with varied line endings and thoughtful language.

The video emphasizes Dryden’s balanced stance: he appreciates the natural dignity and clarity of blank verse, but he doesn’t dismiss rhyme outright. Instead, he invites us to consider how artistry in language whether rhymed or not can shape our emotional experience of drama.