Dryden An Essay Of Dramatic Poesy

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If the act begins in a bedroom or on a street that is where it is going to end.

The third unity touched upon is the unity of action.

If there is one main action and that action is completed then the audience know exactly what is going on.

But if there are sub-plots and other things that are not fully completed then there will be an element of suspense, t will keep the audience interested.

In the prologue to the tragedy of Aurung- zebe, or the Great Mogul (\6*i^, he says that he finds it more difficult to please himself than his audience, and is inclined to damn his own play : Not that it's worse than what before he writ, But he has now another taste of wit ; And, to confess a truth, though out of time, Grows weary of his long-loved mistress, Rhyme. Whether the existing French school of drama is superior or inferior to the English. Whether the Elizabethan dramatists were in all points superior to those of Dry den's own time. Whether plays arc more perfect in proportion as they conform to the dramatic rules laid down by the ancients. Whether the substitution of rhyme for blank verse in serious plays is an improvement.

Passion, he proceeds, is too fierce to be bound in fetters; and the sense of Shakespeare's unapproachable superiority, Shakespeare, whose masterpieces dispense with rhyme, inclines him to quit the stage altogether. The first point is considered in the remarks ofj Crites (Sir Robert Howard), with which the discussion opens.

Giles, and there gave him leisure to complete the Paradise Lost, obliged Dryden also the theatres being closed to pass eighteen months in the country, 'probably at Charlton in Wiltshire,' says Malone, where he turned his leisure to so good an account as, besides writing the * Annus Mirabilis/ to compose in the following Essay the first piece of good modern English prose on which our literature can pride itself.

IT is interesting to note that the same cause the great plague of 1665 which drove Milton from London to the Buckinghamshire village of Chalfont St.

By limiting the amount of time that can be represented in a play, you are limiting the potential of the writer.

And by doing this you are not giving the viewer what they want, a good show.


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