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Neander gives his palm to the violation of the three unities because it leads to the variety in the English plays.Dryden thus argues against the neo-classical critics.Dryden emphasizes the idea of decorum in the work of art.
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 notions of what constitutes a "proper" character for the stage.
He relies heavily on Corneille - and through him on Horace - which places him in a pragmatic tradition.
Dryden wrote this essay as a dramatic dialogue with four characters Eugenius, Crites, Lisideius and Neander representing four critical positions.
Shakespeare "had the largest and most comprehensive soul," while Jonson was "the most learned and judicious writer which any theater ever had." Ultimately, Neander prefers Shakespeare for his greater scope, his greater faithfulness to life, as compared to Jonson's relatively small scope and Freneh/Classical tendency to deal in "the beauties of a statue, but not of a Man." Crites objects to rhyme in plays: "since no man without premeditation speaks in rhyme, neither ought he to do it on the stage." He cites Aristotle as saying that it is, "best to write tragedy in that kind of verse . Even though blank verse lines are no more spontaneous than are rhymed lines, they are still to be preferred because they are "nearest nature": "Rhyme is incapable of expressing the greatest thought naturally, and the lowest it cannot with any grace: for what is more unbefitting the majesty of verse, than to call a servant, or bid a door be shut in rhyme?
" Neander respond to the objections against rhyme by admitting that "verse so tedious" is inappropriate to drama (and to anything else).For Lisideius "no theater in the world has anything so absurd as the English tragicomedy; in two hours and a half, we run through all the fits of Bedlam." Neander favors the moderns, but does not disparage the ancients.He also favors English drama-and has some critical -things to say of French drama: "those beauties of the French poesy are such as will raise perfection higher where it is, but are not sufficient to give it where it is not: they are indeed the beauties of a statue, but not of a man." Neander goes on to defend tragicomedy: "contraries, when placed near, set off each other.Among them, the character Neander holds the same views as of Dryden. that imprisoning him would not solve the problem D. The group discusses the writers like Ben Johnson, William Shakespeare in a great deal and ends with the discussion about rhyme. that he is truly the only person in the town to pay a tax ve in 2009. Crites opposes rhyme in plays and argues that though the moderns excel in sciences, the ancient age was the true age of poetry.Lisideius defends the French playwrights and attacks the English tendency to mix genres."An Essay of Dramatic Poesy" was written during the time period known as the Restoration. The summary is missing important words and phrases.John Dryden is one of the greatest poets of the seventeenth century. An Essay on Dramatic Poesy is written in the form of a dialogue among four gentlemen: Eugenius, Crites, Lisideius and Neander. Eugenius favours modern English dramatists by attacking the classical playwrights, who did not themselves always observe the unity of place.But Crites defends the ancients and points out that they invited the principles of dramatic art paved by Aristotle and Horace.