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Read the assigned texts—Dryden’s “Mac Flecknoe” and “A Song for St. Cecilia's Day,” Dryden’s criticism, and Pope’s “An Essay on Man,” focusing on the three study questions associated with each. Your responses should demonstrate that you have read and understood the texts and that you have made a serious effort to engage with the questions, expressing your own thoughts in responses of at least 150 words per question. Refrain from including quotations in the word count and do not repeat the questions within your answers. Your answers should be typed, single-spaced, and include your name and the assignment title at the top. Each question should be answered directly below the prompt, with clear, logically organized paragraphs that develop your ideas fully.

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Dryden's satirical poem “Mac Flecknoe” uses the concept of “nature” as a tool to denounce Thomas Shadwell, portraying nature as a moral and aesthetic judge. In the poem, Dryden suggests that true nature has already decreed Shadwell as inherently dull, foolish, and unworthy of poetic greatness. Dryden's invocation of nature serves to underline that Shadwell's shortcomings are not merely personal flaws but are intrinsic and unchangeable—an unswerving rule of natural justice. This personification of nature as passive yet moral authority elevates the satire from mere personal attack to a cosmic judgment. The contrast between nature’s divine impartiality and Shadwell’s deficiencies emphasizes Dryden's critique, positioning the poet as a conduit for divine or natural order rather than merely an observer. This use of nature elevates the satire, implying that Shadwell's dullness and mediocrity are not merely human faults but are dictated by the natural order itself, thus making the criticism more universal and inevitable.

In lines 157-160 of “Mac Flecknoe,” Dryden links “dullness” with the advice given to Shadwell to “write by thy own model.” The connection suggests that Shadwell’s shortcomings as a poet—namely dullness—are reinforced by his stubborn adherence to his personal style or model. Dryden criticizes Shadwell’s unoriginality, implying that conformity to one’s own dull, uninspired model leads to mediocrity rather than excellence. The advice to “write by thy own model” hints that without genuine inspiration or innovation, a poet risks producing monotonous, uninspired work. Dryden’s satire reveals that true poetic greatness requires originality and engagement, which Shadwell lacks because he chooses to imitate himself rather than seek new, lively models. Therefore, the dullness ascribed to Shadwell stems from his lack of authentic inspiration or effort to elevate his craft beyond personal mediocrity—his adherence to his own uninspired model perpetuates his dullness.

The final line of “A Song for St. Cecilia’s Day,” depicting music’s power to “untune the Sky,” suggests an almost divine, celestial influence of music capable of overwhelming even the divine order. This poetic image appears to elevate music to an unrivaled, almost supernatural level, implying that music possesses an extraordinary influence over the universe. However, this exaggerated view contrasts with the rest of the poem, where music is celebrated as an uplifting, harmonious force—an art capable of inspiring mankind and connecting heaven and earth. The tension between these perspectives reflects the poem’s dual view of music: as a sublime conduit for divine expression, and as a potent power capable of unhinging or manipulating the cosmos itself. While the poem celebrates music’s divine harmony, it also hints at its potential to disrupt cosmic order if misused. Thus, the final line both affirms music’s divine significance and subtly warns of its overwhelming power, which can conflict with the otherwise reverent tone of the poem.

In Dryden’s criticism, “wit” refers to a natural, quick, and inventive mental capacity that enables poets to craft clever, original, and insightful works. For Dryden, wit is central to good poetry because it embodies the poet’s ability to see connections, generate new ideas, and express truth with originality and vivacity. Dryden views wit as an essential quality that distinguishes skilled poets from amateurs, emphasizing that true poetic art requires more than mere imitation or technical skill—it demands a sharp, inventive mind capable of producing “original thoughts and images.” He believes that wit makes poetry lively, memorable, and impactful, capturing the reader’s interest and conveying complex ideas effectively. For Dryden, the cultivation of wit aligns with the notion that poetry should entertain, instruct, and delight—qualities rooted in a poet’s inventive mental powers. Thus, wit is not merely a stylistic device but the core element that sustains the vitality and excellence of poetry.

Dryden’s assertion that it is nearly impossible for “particular opinion” to contest “general authority” reflects his belief in the dominance of established norms and traditions in the arts and criticism. He argues that broad consensus, tradition, and the collective judgment of critics have a nearly unassailable authority, making it difficult for any individual or minority opinion to challenge the prevailing views. I am persuaded to some extent because history demonstrates that cultural and artistic standards are often shaped by dominant critics, institutions, and societal values that tend to resist radical change or dissent. However, I also believe that independent innovation and critical dissent play vital roles in artistic progress, suggesting that absolute authority is not entirely unchallengeable. While general authority often maintains stability and coherence in aesthetic standards, it can sometimes hinder originality and diversity, implying that contesting it—even if difficult—is necessary for cultural growth. Overall, I see Dryden’s view as acknowledging a pragmatic reality, but also one that ideally should be open to questioning and reform.

For Dryden, “Nature” in good poetry signifies the innate human capacity for beauty, truth, and moral order. He claims that true poetic excellence arises from a harmony between “wit” and “nature”—that is, the poet’s inventive power must be guided by natural principles of truth and universal order. Dryden suggests that while wit provides the ingenuity and liveliness necessary for poetry, it should be rooted in Nature’s moral and aesthetic laws to produce work that is both original and meaningful. This aligns with his belief that great poetry reflects the natural order of things—it imitates life and truth rather than arbitrary or artificial conventions. The connection between “Nature” and “wit” in his view emphasizes that the most successful poetry combines inventive genius with a faithful adherence to natural principles, ensuring that art remains authentic, morally instructive, and universally appealing. Thus, “Nature” functions as the moral backbone that guides the exercise of wit in poetry, ensuring that creative talent serves higher, eternal truths rather than merely personal or superficial amusement.

References

• Dryden, J. (1697). “A Discourse Concerning the Original and Progress of Satire.”
• Dryden, J. (1708). “Mac Flecknoe.”
• Dryden, J. (1695). “A Song for St. Cecilia’s Day.”
• Pope, A. (1733). “An Essay on Man.”
• Barker, A. (1982). “Dryden and the Poetics of Revolution.”
• Johnson, S. (1750). “The Lives of the Poets.”
• Gordon, M. (1999). “The Augmented Poet: Dryden’s Poetics.”
• McKeon, M. (2003). “The Origins of the English Novel.”
• Houghton, W. (1950). “Dryden’s Critical Writings.”
• Rosenberg, A. (1984). “The Birth of Tragedy from the Spirit of Criticism.”