John Dryden stands as a monumental figure in English literature, and his works often blur the lines between public events and poetic expression. His poetry is chiefly noted for its craft and style, with themes that resonate with political and social undertones. As a versatile writer, Dryden excelled in multiple genres, offering a rich tapestry of satire, panegyrics, and verse epistles that capture the essence of his time.

Dryden's Poetic Craft

John Dryden's poetry often reflects the real world, infusing actual events with poetic significance. His talent does not lie in the creation of fictional worlds but in the transformation of real-life occurrences into works of art. Dryden’s poetry impresses readers with its intricate craftsmanship, style, and unique use of parallels—analogies that structure and develop his poems. Through selected passages, readers can appreciate his craft and style, which often reveal his conservative viewpoint, especially on monarchy and political affairs. His poems classify into various genres like songs, odes, satires, panegyrics, epistles, and elegies, each serving to highlight his mastery of poetic forms.

The Role of Parallels and Polarities

Dryden frequently employs parallels pulled from revered sources such as the Bible, classical antiquity, or history. This approach provides a mythic framework for his rational arguments, made more potent through conventional metaphors like the temple, the tree, or the theater. Within this structure, Dryden explores polarities and opposites, a favorite mode of thought, presenting contrasting viewpoints before defending one as ideal or maintaining a moderate stance between them. This method bolsters a rational tone, helping Dryden to connect with his audience, as seen in the "Prologue to Aureng-Zebe," where he balances humility with critique of theatrical contemporaries and predecessors.

Annus Mirabilis and Early Works

Dryden's early poems, including Annus Mirabilis, show his initial debt to Metaphysical poetry before he shifted to a clearer, more regular style. This poem, highlighting the London plague and fire, still retains elements of the Metaphysical style, especially in its use of conceits. His adoption of the four-line heroic stanza reflects his poetic evolution, further evidenced by his prolific creation of Prologues and Epilogues, which became a staple in Restoration drama.

Prologues and Epilogues

During the Restoration, prologues and epilogues complemented dramatic works, and Dryden penned over a hundred. Initially, these appealed for audience indulgence but evolved to cover a multitude of subjects, including literary criticism, personal plans, and political commentary. Dryden's prologues employed conversational diction and syntax, often written in heroic couplets. They reflect a wide range of subjects and purposes, showcasing his directness, clarity, and wit.

Mac Flecknoe: A Mock-Heroic Satire

In Mac Flecknoe, Dryden uses mock-heroic form to satirize Thomas Shadwell, portraying him as the successor to the realm of dullness once ruled by Richard Flecknoe. The poem mocks bad poetry and highlights the polarity between true and false wit, establishing an aesthetic ideal by implication. Though the poem’s topicality presents challenges today, it remains a vivid exploration of sense and nonsense within the literary sphere.

Political Satire: Absalom and Achitophel

Absalom and Achitophel, Dryden's political satire, employs a biblical parallel to address the Whig party's attempt to alter the succession of the English throne. Through a clever mix of satire and normative passages, Dryden discredits the Whig leaders while advocating for the king's established rights. The poem’s characters, such as Achitophel (Shaftesbury) and Zimri (Buckingham), are crafted with a keen sense of irony, illustrating Dryden’s skilled use of poetic character to undermine his political opponents.

Religio Laici: A Verse Essay

In Religio Laici , Dryden examines religious movements in England, rejecting extremes like Deism, Catholicism, and Dissenters, while standing...