Dryden Strikes Back
This is John Dryden's loud and clear response to Rymer 's thoughts on poetry (see the previous post):
To return to the beginning of this enquiry, consider if Pity and Terror be enough for Tragedy to move, and I believe upon a true definition of Tragedy, it will be found that its Work extends farther, and that it is to reform Manners by delightful Representation of Human Life in great Persons, by way of Dialogue. If this be true, then not only Pity and Terror are to be mov'd as the only Means to bring us to Virtue, but generally Love to Virtue, and Hatred to Vice, by shewing the Rewards of one, and Punishments of the other; at least by rendering Virtue always amiable, though it be shown unfortunate; and Vice detestable tho' it be shown Triumphant.
If then the Encouragement of Virtue, and Discouragement of Vice, be the proper End of Poetry in Tragedy: Pity and Terror, tho' good Means, are not the only: For all the passions in their turns are to be set in a Ferment; as Joy, Anger, Love, Fear, are to be used as the Poets common Places; and a general Concernment for the principal Actors is to be rais'd, by making them appear such in their Characters, their Words and Actions, as will Interest the Audience in their Fortunes.
[...]
His [Rymer's] Meaning, that pity and Terror are to be mov'd, is that they are to be mov'd as the Means conducing to the Ends of Tragedy, which are Pleasure and Instruction.
And these two Ends may be thus distinguished. The chief End of the Poet is to please; for his immediate Reputation depends on it.
The great End of the Poem is to Instruct, which is perform'd by making Pleasure the Vehicle of that Instruction: For Poetry is an Art, and all Arts are made to Profit (Rapin).
To return to the beginning of this enquiry, consider if Pity and Terror be enough for Tragedy to move, and I believe upon a true definition of Tragedy, it will be found that its Work extends farther, and that it is to reform Manners by delightful Representation of Human Life in great Persons, by way of Dialogue. If this be true, then not only Pity and Terror are to be mov'd as the only Means to bring us to Virtue, but generally Love to Virtue, and Hatred to Vice, by shewing the Rewards of one, and Punishments of the other; at least by rendering Virtue always amiable, though it be shown unfortunate; and Vice detestable tho' it be shown Triumphant.
If then the Encouragement of Virtue, and Discouragement of Vice, be the proper End of Poetry in Tragedy: Pity and Terror, tho' good Means, are not the only: For all the passions in their turns are to be set in a Ferment; as Joy, Anger, Love, Fear, are to be used as the Poets common Places; and a general Concernment for the principal Actors is to be rais'd, by making them appear such in their Characters, their Words and Actions, as will Interest the Audience in their Fortunes.
[...]
His [Rymer's] Meaning, that pity and Terror are to be mov'd, is that they are to be mov'd as the Means conducing to the Ends of Tragedy, which are Pleasure and Instruction.
And these two Ends may be thus distinguished. The chief End of the Poet is to please; for his immediate Reputation depends on it.
The great End of the Poem is to Instruct, which is perform'd by making Pleasure the Vehicle of that Instruction: For Poetry is an Art, and all Arts are made to Profit (Rapin).
John Dryden, from Heads of an Answer to Rymer (1677)
*It was a great coincidence to find this text after having just read Rymer's.
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