Please note that you need to create a NEW ACCOUNT (only first time), and then only you will be able to work. So their stories are mixture of truth with fiction, based on historical invention. (XIIII) What is the major imperfection of English plays? He brings up the idea of the suspension of disbelief. (XIVII)Neander defends the English invention of ______________.
(1) Fill in the blanks: (vii) Dryden was both a writer and a______. The French have their Corneille (1606-84), and the English have no dramatist equal to him.
(viii) Dryden’s best known critical work is____________________. (ix)We call Dryden a neoclassical critic, just as ________. The French are superior to the English for various reasons: 1. They favour the Unity of time and they observe it so carefully.
In Dryden we find an interest in the general issues of criticism rather than in a close reading of particular texts.
We call Dryden a neoclassical critic, just as Boileau. His best-known critical work, An Essay on Dramatic Poesy, partly reflects this tension in Dryden's commitments.
Crites’s Arguments in favour of the Ancients 1.3.5. Dryden’s mature thoughts of literary criticism on ancient, modern and English Literature, especially on Drama, are presented in dialogue forms in An Essay on Dramatic Poesy.
Eugenius Arguments on Superiority of Moderns over the Ancients 1.3.4. He was a Cambridge Scholar, literary genius and critic, considering his extraordinary literary contribution was credited with the honour of Poet Laureate of England in 1668. His critical observation of contemporary reality is reflected in Mac Flecknoe(1682).
Reading List (A) Bibliography (B) Further Reading John Dryden (9 August 1631 – ) was a prominent English poet, critic, translator, and playwright who dominated the literary life of the Restoration Age; therefore, the age is known as the Age of Dryden.
(III) How many speakers are there in The Essay on Dramatic Poesy?
While the poet is free to imitate “things as they are said or thought to be”, he also gives spirited defence of a poet’s right to imitate what could be, might be or ought to be. Lisideius therefore concludes: no drama in the world is as absurd as the English tragic-comedy. One fault he finds in their plots is that the regularity also makes the plays too much alike.
He cites in this context the case of Shakespeare who so deftly exploited elements of the supernatural and elements of popular beliefs and superstitions. The French plays also have much variety but they do not provide it in such a bizarre manner. He defends the English invention of tragi-comedy by suggesting that the use of mirth with tragedy provides "contraries" that "set each other off" and gives the audience relief from the heaviness of straight tragedy.