English Language and Literature ETDs

Publication Date

5-25-1970

Abstract

While many studies have investigated relationships between aspects of John Dry den's literary theory and his practice as a poet, and others have examined specific problems in his literary theory, there have been no significant attempts to analyze his practical criticism as a means of determining the theoretical foundations of his criticism. This study attempts to determine the relationships between Dryden's practical criticism and his general statements of literary theory.

Dryden's criticism emphasizes the dual ends of instruction and delight as the principal function of liter­ature. He uses this principle in close conjunction with the concept of the imitation of nature, and he relies on a rather elaborate system of hierarchies of genres and audiences. The highest genres imitate great actions and noble subjects while giving the greatest instruction and the noblest pleasure to the most judicious audience. The poet's individual genius determines the genre in which he works and strongly influences the final effect of the work on the audience. However, Dryden subordinates the poet's genius both to the imitation of nature and to the audience in his literary theory.

In an Essay of Dramatic Poesy Dryden examines the rules and the critical terms of neoclassical literary theory, and he works toward an interpretation of the rules and terminology that permits poetic genius to function freely and that stresses the virtually infinite capacity of the human imagination to appreciate and understand a literary work. Dryden subordinates the rules to the final effects of the work, and although he shows how a production of genius such as The Silent Woman may adhere to the rules, its proper pleasure depends on the lively imitation of human nature which is the result of genius rather than conformity to the rules.

Dryden's specific literary evaluations consistently rely on standard neoclassical principles, but he applies these principles in accordance with his own personal tastes and sensibilities. His specific judgments on Shakespeare, Juvenal, Homer, and Chaucer reflect his personal preference for the vehemence and poetic fire in each of these writers' works. Nevertheless, the poet must harness his fancy with his judgment in order to create a work that will give a just and lively representation of nature. For, nothing but nature can give a sincere pleasure, and without delight the instruction is but a bare and dry philosophy. The heroic poetry of Homer and Virgil best fulfils these many requisites of poetry, and they make their appeal to the best audience, "souls of the highest rank, and truest understanding."

Dryden constantly maintained a balance between his personal tastes and objective principles. The fundamental point is that his personal tastes were grounded firmly on principle. He defends his preference for Chaucer over Ovid, Shakespeare over Fletcher, Juvenal over Horace, and Homer over Virgil, on solid and consistent neoclassical theory, as well as on his own individual reactions. Like­wise, the balance between fancy and judgment in the poet, between nature and art in the work, and between delight and instruction in the audience causes a successful work of art. When the balance in all these cases is operating on the highest level possible, the result will be an Aeneid or and Iliad, "undoubtedly the greatest work which the soul of man is capable to perform."

Degree Name

English

Level of Degree

Doctoral

Department Name

English

First Committee Member (Chair)

James Llewellyn Thorson

Second Committee Member

Hoyt Trowbridge

Third Committee Member

Laure Scott Catlett

Language

English

Document Type

Dissertation

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