Four Critics:
1) Eugenius--favors the moderns over the ancients, arguing that the moderns go along the ancients because of having learned and profited from their mannikin.
2) Crites--argues in favor of the ancients: they established the unities; dramatic rules were spelled forth by Aristotle which the current--and esteemed--French playwrights follow; and Ben Jonson--the greatest English playwright, according to Crites--followed the ancients example by adhering to the unities.
3) Lisideius--argues that French drama is superior to English drama, basing this scene of the French writers close adherence to the classical separation of clowning and tragedy. For Lisideius no theater in the world has anything so farcical as the English tragicomedy . . . in two hours and a half, we run through all the fits of Bedlam.
4) Neander (thought to represent Dryden)--favors the moderns, but does non disparage the ancients. He also favors English drama--and has some censorious things to say of French drama: those beauties of the French poesy atomic number 18 such as will raise perfection high 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.
Five issues:
1)Ancients vs. Moderns
2) Unities
3) French vs.
English Drama
4) Separation of Tragedy and prank vs. Tragicomedy
5) Appropriateness of Rhyme in Drama
Dryden is a neoclassic critic, and as such he deals in his criticism with issues of form and faith in drama. However, he is not a rule give critic, tied down to the classical unities or to notions of what constitutes a right(a) 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 quadruplet characters representing four critical positions. these four critical positions deal with five issues. Eugenius (whose name may mingy well born)...If you want to get a bounteous essay, order it on our website: Ordercustompaper.com
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