Description:PMLA is the journal of the Modern Language Association of America. Since 1884, PMLA has published members' essays judged to be of interest to scholars and teachers of language and literature. Four issues each year (January, March, May, and October) contain essays on language and literature; a Directory issue (September) lists all members and the names and addresses of department and program administrators; and the November issue presents the program for the association's annual convention. Each issue of PMLA is mailed to over 29,000 MLA members and to 2,900 libraries worldwide.
Coverage: 1889-2012 (Vol. 4 - Vol. 127, No. 5)
The "moving wall" represents the time period between the last issue available in JSTOR and the most recently published issue of a journal. Moving walls are generally represented in years. In rare instances, a publisher has elected to have a "zero" moving wall, so their current issues are available in JSTOR shortly after publication.
Note: In calculating the moving wall, the current year is not counted.
For example, if the current year is 2008 and a journal has a 5 year moving wall, articles from the year 2002 are available.
- Terms Related to the Moving Wall
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- Complete: Journals that are no longer published or that have been combined with another title.
Subjects: Language & Literature, Humanities
Collections: Arts & Sciences III Collection, JSTOR Essential Collection, Language & Literature Collection
John Dryden’s Of Dramatic Poesie (also known as An Essay of Dramatic Poesy) is an exposition of several of the major critical positions of the time, set out in a semidramatic form that gives life to the abstract theories. Of Dramatic Poesie not only offers a capsule summary of the status of literary criticism in the late seventeenth century; it also provides a succinct view of the tastes of cultured men and women of the period. Dryden synthesizes the best of both English and Continental (particularly French) criticism; hence, the essay is a single source for understanding neoclassical attitudes toward dramatic art. Moreover, in his discussion of the ancients versus the moderns, in his defense of the use of rhyme, and in his argument concerning Aristotelian prescripts for drama, Dryden depicts and reflects upon the tastes of literate Europeans who shaped the cultural climate in France and England for a century.
Although it is clear that Dryden uses Neander as a mouthpiece for his own views about drama, he is careful to allow his other characters to present cogent arguments for the literature of the classical period, of France, and of Renaissance England. More significantly, although he was a practitioner of the modern form of writing plays himself, Dryden does not insist that the dramatists of the past are to be faulted simply because they did not adhere to methods of composition that his own age venerated. For example, he does not adopt the views of the more strident critics whose insistence on slavish adherence to the rules derived from Aristotle had led to a narrow definition for greatness among playwrights. Instead, he pleads for commonsensical application of these prescriptions, appealing to a higher standard of judgment: the discriminating sensibility of the reader or playgoer who can recognize greatness even when the rules are not followed.
For this reason, Dryden can champion the works of William Shakespeare over those of many dramatists who were more careful in preserving the unities of time, place, and action. It may be difficult to imagine, after centuries of veneration, that at one time Shakespeare was not held in high esteem; in the late seventeenth century, critics reviled him for his disregard for decorum and his seemingly careless attitudes regarding the mixing of genres. Dryden, however, recognized the greatness of Shakespeare’s productions; his support for Shakespeare’s “natural genius” had a significant impact on the elevation of the Renaissance playwright to a place of preeminence among dramatists.
The period after the restoration of the Stuarts to the throne is notable in English literary history as an age in which criticism flourished, probably in no small part as a result of the emphasis on neoclassical rules of art in seventeenth century France, where many of King Charles II’s courtiers and literati had passed the years of Cromwell’s rule. Dryden sets his discussion in June, 1665, during a naval battle between England and the Netherlands. Four cultivated gentlemen, Eugenius, Lisideius, Crites, and Neander, have taken a barge down the River Thames to observe the combat and, as guns sound in the background, they comment on the sorry state of modern literature; this naval encounter will inspire hundreds of bad verses commending the victors or consoling the vanquished. Crites laments that his contemporaries will never equal the standard set by the Greeks and the Romans. Eugenius, more optimistic, disagrees and suggests that they pass the remainder of the day debating the relative merits of classical and modern literature. He proposes that Crites choose one literary genre for comparison and initiate the discussion.
As Crites begins his defense of the classical drama, he mentions one point that is accepted by all the others: Drama is, as Aristotle wrote, an imitation of life, and it is successful as it reflects human nature clearly. He also discusses the three unities, rules dear to both the classicist and the neoclassicist, requiring that a play take place in one locale during one day, and that it encompass one action or plot.
Crites contends that modern playwrights are but pale shadows of Aeschylus, Sophocles, Seneca, and Terence. The classical dramatists not only followed the unities successfully; they also used language more...
(The entire section is 1774 words.)