For Art may err, but Nature cannot miss.

Dryden’s line comes from his critical poem “An Essay of Dramatic Poesy” (1668), written as a dialogue in which speakers debate the merits of ancient vs. modern drama and French vs. English theatrical practice. In defending English playwrights and the value of “nature” (lifelike representation, probable character and action) over rigid “art” (formal rules and technical contrivance), Dryden argues that adherence to natural truth is a surer guide than strict obedience to prescribed artistic canons. The remark reflects Restoration-era critical disputes about neoclassical rules—especially the unities—and about whether drama should prioritize rule-bound correctness or convincing imitation of human nature.

Dryden contrasts fallible artistic technique with the reliability of nature as a standard. “Art” here means learned craft and formal rules; it can misjudge, overrefine, or become mannered. “Nature” signifies what is true to human experience—credible passions, motives, and behavior—and thus provides a more dependable measure of excellence. The aphorism implies that works grounded in natural observation may succeed even when they break technical prescriptions, while technically correct works can fail if they violate plausibility or emotional truth. It encapsulates a key Restoration critical principle: rules are useful, but they are subordinate to the persuasive imitation of life.