great English literary critic. Before him, criticism in England was scattered and unclear. In “An Essay of Dramatic Poesy,” written in 1668, Dryden gives clear, logical, and balanced ideas about drama, poetry, and criticism. He does not blindly follow rules, nor does he reject them completely. His criticism is based on reason, experience, and practical examples from literature. Because of this, Dryden holds a very important place in English literary criticism.

Dryden Introduces a New Critical Method: One of Dryden’s greatest contributions is his new method of criticism. He writes criticism in the form of a dialogue. Four friends take a boat ride on the Thames River. Each character represents a different viewpoint:

• Eugenius – Supports modern English drama and says it is better than ancient Greek and Roman plays.
• Crites – Defends classical (Greek and Roman) drama and criticizes modern plays.
• Lisideius – Favors French drama and says it is superior to both English and classical plays.
• Neander (Dryden himself) – Defends English drama, especially Shakespeare and Jonson, and argues that plays should entertain audiences rather than strictly follow rules.

This structure makes criticism lively and interesting, not dry or boring. Dryden does not force his opinion. He allows different views, then carefully judges them. Through this method, he teaches readers how to think. This is a new and mature form of criticism in English literature.

He clearly states that the purpose of drama is—

“For the delight and benefit of mankind.”

This simple idea becomes the base of his criticism.

Balance Between Rules and Freedom: Dryden’s criticism is marked by balance and moderation. He respects classical rules, especially Aristotle’s ideas. But he does not accept them blindly. He believes rules are helpful, but they must not destroy life and passion.

Dryden supports English drama even though it breaks the three unities. He believes drama should please the audience first. He says drama is—

“A just and lively image of human nature, in its actions, passions, and fortunes.”

This balanced attitude makes Dryden a practical critic, not a rigid theorist.

Defense of English Drama and Shakespeare: Another major contribution is Dryden’s defense of English drama. He compares English drama with French drama. He proves English drama is superior in passion, character, and variety. Dryden suggests that French plays feel like statues, while English plays feel like living people. Dryden writes about French plays:

“They are indeed the Beauties of a Statue, but not of a Man.”

He strongly defends Shakespeare. Though Shakespeare breaks rules, Dryden praises his deep understanding of human nature. Dryden believes natural genius is more important than strict correctness. He admits Shakespeare’s faults but still respects his greatness. This honest and fair judgment shows Dryden’s critical maturity.

Clear Ideas on Verse and Rhyme: Dryden also contributes greatly by discussing rhyme and blank verse in drama. He explains both sides carefully. Through Neander, he defends rhyme in serious plays. Through Crites, he presents objections. Dryden believes verse can be natural if written carefully. He says drama is

“Nature wrought up to a higher pitch.”

This idea is very important in literary criticism. It shows that drama is not everyday speech but an elevated form of life.

Simple and Clear Critical Language: Dryden’s critical language is simple, clear, and direct. He avoids difficult theory. His examples come from actual plays and poets. This makes his criticism useful and understandable. He also accepts that criticism is not fixed. He is ready to change his views later. This flexibility makes him a modern critic.

In conclusion, Dryden’s contribution to English literary criticism is great and lasting. He introduces a logical method, balances rules and freedom, and defends English drama. His criticism is practical, fair, and human. He teaches us that literature should delight, instruct, and reflect life. For these reasons, John Dryden stands as the father of English literary criticism.