Hello and welcome to the Discourse. John Dryden (1631-1700) stands as a monumental figure in English literary history, not only for his prolific output spanning poetry, plays, and translations, but also for his pivotal role in establishing and shaping English literary criticism. He is widely regarded as the "Father of English Criticism," a testament to his foundational contributions to the field, transforming it from sporadic commentary into a systematic and principled discipline. His writings on literary theory and his practical criticism laid the groundwork for much of the critical discourse that followed in England.
Before John Dryden, literary criticism in England was largely characterized by more infrequent and less formalized approaches. Critical remarks tended to be occasional, often appearing as prefaces or within other literary works, rather than forming a distinct body of analytical thought. While figures such as Ben Jonson and Philip Sidney offered critical insights, their contributions did not coalesce into a comprehensive and systematic framework for literary evaluation. Dryden's emergence marked a significant turning point, leading to his recognition as the "Father of English Criticism". This title is attributed to his efforts in establishing principled analysis and evaluation as the basis for judging literary works. He moved criticism towards a more structured discipline, providing informed commentary that was backed by reasoned arguments rather than mere subjective opinions. Through his critical writings, Dryden educated both fellow writers and the reading public on how to examine various facets of poetry and drama, fostering a culture of critical exploration and deliberation. His work represents a watershed moment in the development of criticism, elevating it to an independent and mainstream form as opposed to its earlier, more scattered existence. The reopening of theaters in 1660, following the Puritan interregnum, created a fertile ground for the development of professional literary criticism, a field in which Dryden became a leading figure. His active engagement in writing for the stage, coupled with his insightful reflections on dramatic theory and practice, indicates a close relationship between the creative and analytical aspects of literary culture during the Restoration period. Furthermore, Dryden's engagement with both the literary traditions of antiquity and the contemporary works of English and French writers introduced a comparative dimension to critical discourse that was largely unprecedented in England. By analyzing different literary approaches and evaluating their relative merits, Dryden moved beyond a purely rule-based form of criticism, paving the way for a more nuanced and appreciative understanding of diverse literary achievements.
Contributions:
Dryden's contributions to literary criticism were foundational and far-reaching. He established critical principles and standards for evaluating literature, emphasizing the importance of reason and analytical thought in the process of judgment. This marked a departure from purely subjective responses to literature, advocating for informed commentary supported by logical reasoning. He played a crucial role in introducing and popularizing neoclassical ideals within English literary criticism. These ideals included an emphasis on reason, decorum, and the imitation of classical models from ancient Greece and Rome. However, Dryden's approach to neoclassicism was not rigid; he demonstrated a willingness to critique and deviate from classical rules when he found it necessary, favoring the "spirit" of the classics over blind adherence to their dictates. His critical writings also saw the development of terminology that remains relevant in literary analysis today, such as the concepts of "wit," "genius," and "sublime," which he used to analyze and evaluate literary works. Notably, Dryden pioneered the use of historical, comparative, and descriptive methods in his literary analysis. He believed that a writer and their work should be understood within the context of their own age and society, marking the advent of a historical approach to criticism. His critical essays often involved comparing ancient and modern drama, as well as English and French playwrights, demonstrating his comparative methodology. Moreover, through his prefaces and essays, Dryden practiced descriptive criticism by closely analyzing the specific qualities and techniques of individual literary works. He also emphasized the importance of clarity, precision, and eloquence in literary expression, believing that poetry should engage the reader on both an intellectual and emotional level. His critical approach was often characterized by exploration and dialogue, rather than strict pronouncements of rules, as exemplified by the format of An Essay of Dramatic Poesy. This dialogic style allowed for the presentation of diverse viewpoints and a more nuanced examination of critical issues. Furthermore, Dryden's emphasis on "delight and transport" as the primary goal of poetry signaled a shift away from the purely didactic views that had sometimes dominated literary thought. While instruction might be a secondary function, Dryden prioritized the aesthetic and emotional impact of literature on its audience.
Important Works:
Dryden's critical output, though not consisting of a single comprehensive treatise, is substantial and influential. His most formal critical work is An Essay of Dramatic Poesy, likely written in 1666 and published in 1668. This essay takes the form of a dialogue among four gentlemen—Crites, Eugenius, Lisideius, and Neander—as they sail down the Thames amidst the sounds of a naval battle. These characters represent different perspectives on dramatic literature: Crites champions the ancient dramatists, Eugenius defends modern English playwrights, Lisideius advocates for French classical drama, and Neander serves as Dryden's mouthpiece, primarily supporting English drama. Through this dialogue, Dryden engages in a comprehensive defense of English drama against the perceived superiority of ancient Greek and Roman models, as well as the contemporary French theater. He expresses particular admiration for the "natural genius" of William Shakespeare, arguing that while Shakespeare may have occasionally disregarded classical rules, his profound understanding of human nature and his ability to evoke strong emotions far outweigh these perceived flaws. Dryden also discusses the controversial topic of the three dramatic unities (time, place, and action), acknowledging their importance but advocating for a more flexible application that prioritizes the effective representation of life over rigid adherence to rules. He defends the English practice of tragicomedy, arguing that its mixture of serious and comic elements provides a more accurate reflection of the complexities of human experience. Moreover, Dryden delves into the debate over the use of rhyme in dramatic plays, particularly tragedy, arguing that verse can elevate the language and enhance the emotional impact, despite Crites' objection that it is unnatural. Beyond this seminal essay, Dryden's critical prefaces to his own works and those of others constitute a significant portion of his critical contributions. These prefaces, often occasioned by specific literary projects, offer valuable insights into his evolving literary thought and his critical perspectives on a wide range of topics. They address issues such as the art of translation, the nature and function of satire, the role and responsibilities of the poet, and the merits of different literary genres. For instance, in his Preface to Fables Ancient and Modern, published in 1700, Dryden provides a notable comparative assessment of Geoffrey Chaucer and the Roman poet Ovid. In this preface, Dryden famously lauds Chaucer as the "Father of English Poetry," expressing his profound admiration for Chaucer's storytelling ability, his vivid characterizations, and his naturalness. While acknowledging some metrical irregularities in Chaucer's verse, Dryden ultimately prioritizes his genius in capturing the essence of human nature and the English spirit. This preface also reveals Dryden's understanding of translation as not merely a literal rendering but an act of making classical works accessible and relevant to a contemporary audience, bridging literary traditions across time. Dryden's championing of English drama and his particular praise for Shakespeare in An Essay of Dramatic Poesy reflect a growing sense of national literary identity during the Restoration period. By advocating for the merits of English playwrights against the long-standing authority of classical and French drama, Dryden contributed to the development of a distinctively English literary tradition and fostered a sense of national pride in its literary achievements. Similarly, his Preface to Fables demonstrates his role as a literary historian and interpreter, shaping the understanding and appreciation of earlier English writers like Chaucer for subsequent generations. His translation and critical commentary on Chaucer played a crucial part in establishing Chaucer's prominent place in the English literary canon, even if Dryden's assessment was influenced by the limitations of understanding Middle English at the time.
John Dryden’s criticism of John Donne’s poetry reflects the shifting literary tastes between the early 17th and late 17th centuries. Dryden, a leading figure of the Restoration and an advocate of neoclassical decorum, admired Donne’s intellectual depth and originality but took issue with his stylistic roughness and, at times, his explicit sensuality. In Discourse Concerning the Original and Progress of Satire (1693), Dryden famously coined the term "metaphysical" to describe Donne’s intricate, philosophically dense verse, acknowledging his brilliance while criticizing his lack of smoothness. He argued that Donne’s complex conceits and irregular rhythms made his poetry less accessible and less pleasing compared to the polished elegance of classical and contemporary poets like Ben Jonson. Dryden believed Donne’s excessive intellectualism—particularly in love poetry—alienated readers when it should instead "engage their hearts" with emotional directness.
Beyond stylistic concerns, Dryden also disapproved of what he saw as indecency in Donne’s work. In the preface to Sylvae (1685), he lamented Donne’s tendency to mix philosophical speculation with eroticism, arguing that love poetry should prioritize tenderness over intellectual showmanship. Donne’s Elegies, such as "To His Mistress Going to Bed," with their frank sensuality and unconventional metaphors, clashed with Dryden’s preference for restraint and propriety. While Donne’s era embraced bold, boundary-pushing verse, Dryden’s Restoration sensibility favored clarity, decorum, and classical influences, as seen in his own polished love poems.
Despite these criticisms, Dryden’s labeling of Donne as "metaphysical" shaped later literary discourse, with Samuel Johnson formalizing the term in the 18th century. Modernists like T.S. Eliot later reclaimed Donne’s reputation, celebrating his fusion of intellect and passion. Dryden’s mixed assessment—praising Donne’s wit while condemning his harshness and occasional indecency—highlights the tension between metaphysical exuberance and neoclassical refinement, marking a pivotal moment in English literary history.
The initial reception of John Dryden's literary criticism during his lifetime was marked by considerable recognition and influence. His appointment as the first Poet Laureate in 1668 signified official acknowledgment of his significant contributions to English literature, encompassing both his creative writing and his critical insights. Dryden's dominance in the literary scene was so profound that the period itself came to be known as the Age of Dryden, underscoring his central role in shaping literary tastes and standards. Prominent contemporaries and later critics held varying views on his work, but his impact was undeniable. Dr. Samuel Johnson, a towering figure of the subsequent century, famously described Dryden as the "father of English criticism," recognizing his pioneering role in establishing principles for literary evaluation. T.S. Eliot, in the 20th century, also acknowledged Dryden's crucial role in reforming English verse and laying a foundational basis for the development of future critical thought. However, with the rise of Romanticism in the 19th century, some poets and critics, such as Wordsworth and Coleridge, viewed Dryden's work as overly formal and artificial, reflecting the shifting aesthetic values of a new literary era. Despite these fluctuations in critical opinion, the 20th century witnessed a reevaluation of Dryden's importance, with critics recognizing his historical significance and his lasting contributions to the field of English literary criticism.
His key contributions, including the establishment of critical standards, the introduction and nuanced application of neoclassical ideals, the development of critical terminology, and his pioneering use of historical, comparative, and descriptive methods, irrevocably shaped the course of English literary thought. Through his important critical works, such as An Essay of Dramatic Poesy and his influential prefaces, Dryden not only offered insightful analyses of literature but also played a crucial role in shaping national literary identity and transmitting the legacy of earlier writers. Despite shifts in critical reception over time, his enduring influence on the development of English literary criticism remains undeniable, solidifying his place as a pivotal figure in the history of literary thought in the English language.
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