Dryden recognized Jonson's virtues in these areas:
* Moral Instruction: Dryden praised Jonson for his "moral" plays that aimed to teach audiences about virtue and vice, even if he found them sometimes heavy-handed. He acknowledged Jonson's commitment to presenting characters with strong moral convictions.
* Wit and Humor: Dryden admired Jonson's witty dialogue and his ability to create humorous situations. He recognized Jonson's talent for crafting memorable characters and scenes that elicited laughter.
* Classicism and Structure: Dryden, though critical of Jonson's strict adherence to classical rules, understood and appreciated the structural rigor of his plays. He admired Jonson's use of classical models like Terence and Plautus, and his efforts to bring order and form to the dramatic art.
* Realism and Observation: Dryden recognized Jonson's skill in depicting the everyday world and its characters with realistic detail. He acknowledged Jonson's keen observation of human nature and his ability to bring those observations to life in his plays.
However, Dryden also criticized Jonson for:
* Lack of Emotional Depth: Dryden believed that Jonson's plays lacked the emotional depth and poetic beauty of Shakespeare's works. He found Jonson's characters too moralistic and his plots too simplistic.
* Over-reliance on Classicism: While appreciating Jonson's classicism, Dryden believed he sometimes adhered to the classical rules too rigidly, sacrificing spontaneity and originality.
* Artificiality of Language: Dryden found Jonson's language overly artificial and lacking the natural flow and beauty of Shakespeare's verse.
In essence, Dryden saw Jonson as a skilled craftsman who brought order and discipline to the stage. But he also saw Jonson as lacking the emotional power and poetic genius of Shakespeare. His critique of Jonson, while acknowledging his virtues, ultimately placed him in the shadow of his more celebrated contemporary.