Fletcher, or Euripides, or all of them, I think it justly deserves Commendation.LANGBAINE, GERARD, 1691, An Account of the English Dramatick Poets, p. 173.

Mr. Godwin has justly remarked, that the delicacy of Chaucer's ancient tale has suffered even in the hands of Shakespeare; but in those of Dryden it has undergone a far deeper deterioration. Whatever is coarse and naked in Shakespeare, has been dilated into ribaldry by the poet laureate of Charles the Second; and the character of Pandarus, in particular, is so grossly heightened, as to disgrace even the obliging class to whom that unfortunate procurer has bequeathed his name. So far as this play is to be considered as an alteration of Shakespeare, I fear it must be allowed that our author has suppressed some of his finest poetry, and exaggerated some of his worst faults.-SCOTT, SIR WALTER, 1808-21, ed., The Works of John Dryden, by Saintsbury, vol. VI, p.

245.

THE SPANISH FRIAR

1681

One of the best and most popular of our poet's dramatic efforts. The tragic part of "The Spanish Friar" has uncommon merit. The opening of the drama, and the picture of a besieged town in the last extremity, is deeply impressive, while the description of the noise of the night attack, and the gradual manner in which the intelligence of its success is communicated, arrests the attention, and prepares expectation for the appearance of the hero, with all the splendour which ought to attend the principal character in tragedy.-SCOTT, SIR WALTER, 1808-21, ed., The Works of John Dryden, by Saintsbury, vol. VI, pp. 395, 398.

Beyond question the most skilfully con structed of all Dryden's plays.-COLLINS, JOHN CHURTON, 1878-95, Dryden, Quar terly Review; Essays and Studies, p. 42.

A popular piece, possessed of a good deal of merit, from the technical point of view of the play-wright, but which I think has been somewhat over-rated, as far as literary excellence is concerned. The principal character is no doubt amusing, but he is heavily indebted to Falstaff on the one hand, and to Fletcher's Lopez on the other; and he reminds the reader of both his ancestors in a way which cannot

but be unfavourable to himself. The play is to me most interesting because of the light it throws on Dryden's grand characteristic, the consummate craftsmanship with which he could throw himself into the popular feeling of the hour. This "Protestant play" is perhaps his most notable achievement of the kind in drama, and it may be admitted that some other achievements of the same kind are less creditable. SAINTSBURY, GEORGE, 1881, Dryden (English Men of Letters), p. 60.

THE DUKE OF GUISE

1683

Our author's part of "The Duke of Guise" is important, though not of great extent, as his scenes contain some of the most striking political sketches. The debate of the Council of Sixteen, with which the play opens, was his composition; the whole of the fourth act, which makes him responsible for the alleged parallel betwixt Guise and Monmouth, and the ridicule cast upon the sheriffs and citizens of the popular party, with the first part of the fifth, which implicates him in vindicating the assassination of Guise. -SCOTT, SIR WALTER, 1808-21, ed., The Works of John Dryden, by Saintsbury, vol. VII, p. 7.

This play is not distinguished for any high strain of poetic feeling, for the loftier flights of genius, or for any elaborate display of dramatic skill. Much of the descriptions and sentiments is taken closely from Davila, and the strong picturesque language of the historian is without difficulty raised into elegant and harmonious verse. In the character of Marmoutiere, an allusion to the Duchess of Buccleuch and Monmouth is probably intended. The story of Malecorn is said to be taken from Rossett's Hist. Tragiques, and one or two striking passages from Pulci. Sir Walter Scott thinks that the last scene between the fiend and the necromance horrribly fine; but I do not feel certain that the parting speech of Malecorn would be considered natural; surely in his situation an agony of terror would overwhelm all reflection and stifle all argument. This part of the play. failed in the representation; indeed the whole encountered a stormy, if not an unfavorable reception. Its poetry was but the vehicle for political sentiments; but as the court party increased in strength,

its success became more assured.-MITFORD, JOHN, 1834, ed., Poems of Dryden, Memoir.

ALBION AND ALBANIUS

1685

The reader finds none of these harsh inversions, and awkward constructions, by which ordinary poets are obliged to screw their verses into the fetters of musical time. Notwithstanding the obstacles stated by Dryden himself, every line seems to flow in its natural and most simple order; and where the music required repetition of a line, or a word, the iteration seems to improve the sense and poetical effect. Neither is the piece deficient in the higher requisites of lyric poetry. -SCOTT, SIR WALTER, 1808-21, ed., The Works of John Dryden, by Saintsbury, vol. VII, p. 224.

DON SEBASTIAN 1690

Is commonly esteemed either the first or second of his dramatick performances. It is too long to be all acted, and has many characters and many incidents; and though it is not without sallies of frantick dignity, and more noise than meaning, yet as it makes approaches to the possibilities of real life, and has some sentiments which leave a strong impression, it continued long to attract attention. Amidst the distresses of princes, and the vicissitudes of empire, are inserted several scenes which the writer intended for comick; but which, I suppose, that age did not much commend, and this would not endure. There are, however, passages of excellence universally acknowledged; the dispute and the reconciliation of Dorax and Sebastian has always been admired. -JOHNSON, SAMUEL, 1779-81, Dryden, Lives of the English Poets.

In the poet's very best manner; exhibiting dramatic persons, consisting of such bold and impetuous characters as he delighted to draw, well contrasted, forcibly marked, and engaged in an interesting succession of events.-SCOTT, SIR WALTER, 1808-21, Life of Dryden, ed. Saintsbury, p. 407.

Dorax is indeed the chef-d'œuvre of Dryden's tragic characters, and perhaps the only one, in which he has applied his great knowledge of human kind to actual delineation. It is highly dramatic,

because formed of those complex feelings, which may readily lead either to virtue or vice, and which the poet can manage, so as to surprise the spectator, without transgressing consistency. The Zanga of Young, a part of great theatrical effect, has been compounded of this character and of that of lago. But "Don Sebastian" is as imperfect as all plays must be, in which a single personage is thrown forward in too strong relief for the rest. The language is full of that rant which characterized Dryden's earlier tragedies, and to which a natural predilection seems, after some interval, to have brought him back.-HALLAM, HENRY, 1808, Scott's Edition of Dryden, Edinburgh Review, vol. 13, p. 125.

In general, the style of this tragedy, not withstanding an ingredient of rant in its earlier part, is strong as well as attractive; and in the serious portions of the action Dryden repeatedly rises to an unusual height of dramatic effect.WARD, ADOLPHUS WILLIAM, 1875-99, A History of English Dramatic Literature, vol. III, p. 383.

If we except Otway's two tragedies, "Don Sebastian" is beyond comparison the finest tragedy the English stage had seen since Fletcher had passed away. The celebrated scene in the fourth act between Dorax and Sebastian is one of the gems of the English drama.-COLLINS, JOHN CHURTON, 1878-95, Dryden, Quarterly Review; Essays and Studies, p. 66.

AMPHITRYON

1690

The modern poets have treated the subject, which they had from Plautus, each according to the fashion of his country; and so far did the correctness of the French stage exceed ours at that period, that the palm of the comic writing must be, at once, awarded to Molière. Yet although inferior to Molière, and accommodated to the gross taste of the seventeenth century, "Amphitryon" is one of the happiest effusions of Dryden's comic muse. He has enriched the plot by the intrigue of Mercury and Phædra; and the petulant interested "Queen of Gipsies," as her lover terms her, is no bad paramour for the God of Thieves. SCOTT, SIR WALTER, 1808-21, ed., The Works of John Dryden, by Saintsbury, vol. VIII, p. 2.

The flame of his genius-though fed by impure materials-once more bursts forth with splended brightness. The writing must be acknowledged to be admirable, and in parts nothing less than magnificent.-WARD, Adolphus WILLIAM, 1875-99, A History of English Dramatic Literature, vol. III, p. 384.

"Amphitryon," which some critics have treated most mistakenly as a mere translation of Molière. The truth is, that the three plays of Plautus, Molière, and Dryden are remarkable examples of the power which great writers have treading. in each other's steps without servile imitation. In a certain dry humor Dryden's play is inferior to Plautus, but, as compared with Molière, it has two features which are decided improvements the introduction of the character of Judge Gripus, and the separation of the part of the Soubrette into two.-SAINTSBURY, GEORGE, 1881, Dryden (English Men of Letters), p. 115.

KING ARTHUR

1691

I went to "King Arthur" on Saturday, and was tired to death, both of the nonsense of the piece and the execrable performance, the singers being still worse than the actors.--WALPOLE, HORACE, 1770, Letters, ed. Cunningham, Dec. 25.

Of the music in "King Arthur" I shall say but little, as it has been lately revived, well performed, and printed. If ever it could, with truth, be said of a composer that he had devancé son siecle, Purcell is entitled to that praise; as there are movements in many of his works which a century has not injured, particularly the duet. in "King Arthur," "Two Daughters of this aged stream," and "Fairest isles all Isles excelling," which contain not a single passage that the best composers of the present times, if it presented itself to their imagination, would reject.-BURNEY, CHARLES, 1776–89, A General History of Music, vol. III, p. 492.

Dryden, in immortal strain, Had raised the Table Round again, But that a ribald King and Court Bade him toil on, to make them sport; The world defrauded of the high design, Profaned the God-given strength, and marred

the lofty line,

-SCOTT, SIR WALTER, 1808, Marmion, Introduction to Canto i,

The main interest of the piece, such as it is, turns on the rival passions of Arthur and the heathen King of Kent for the blind Emmeline. Her blindness is treated with a mixture of naïveté and something quite the reverse; and this attempt in a direction in which few dramatists have ventured with success, is only noteworthy as a proof that no art in the poet-or, it may be added, in the actor can render tolerable on the stage the analysis of a physical infirmity. This particular infirmity may indeed occasionally be represented with great and legitimate effect; but an endeavour to analyse it appertains to a sphere different from that of the drama. -WARD, ADOLPHUS WILLIAM, 1875-99, A History of English Dramatic Literature, vol. III, p. 382.

LOVE TRIUMPHANT

1694

Supp'd at Mr. Edwd Sheldon's, where was Mr. Dryden the poet, who now intended to write no more plays, being intent on his translation of "Virgil.' He read to us his prologue and epilogue to his valedictory play now shortly to be acted. EVELYN, JOHN, 1693-4, Diary, Jan. 11.

This piece, which concluded our author's labours as a dramatic poet, was unsuccessful when represented, and affords very little pleasure when perused. If we except "Amboyna," our author never produced a play where the tragic part had less interest, or the comic less humour.

It is impossible to dismiss the performance of Dryden without some tribute of praise. The verse, where it is employed, possesses, as usual, all the dignity which numbers can give to language; and the Song upon Jealousy, as well as that in the character of a Girl, have superior merit. SCOTT, SIR WALTER, 180821, ed., The Works of John Dryden, by Saintsbury, vol. VIII, pp. 367, 369.

It is only in his last play, the tragicomedy of "Love Triumphant," that we are forced to admit that the natural force of the playwright is wholly abated.GOSSE, EDMUND, 1888, A History of Eighteenth Century Literature, p. 45.

HEROIC STANZAS

1659

That these stanzas should have made him a name as a poet does not appear surprising

when we compare them with Waller's verses on the same occasion. Dryden took some time to consider them, and was impossible that they should not give an impression of his intellectual strength. Donne was his model; it is obvious that both his ear and his imagination were saturated with Donne's elegiac strains when he wrote; yet when we look beneath the surface, we find unmistakable traces that the pupil was not without decided theories that ran counter to the practice of the master. It is plainly not by accident that each stanza contains one clear-cut brilliant point. The poem is an academic exercise, and it seems to be animated by an under-current of strong contumacious protest against the irregularities tolerated by the authorities.-MINTO, WILLIAM, 1877, Encyclopædia Britannica, Ninth edition, vol. VII.

There were not three poets then living who could have written the best lines of the "Heroic Stanzas," and what is more, those lines were not in the particular manner of either of the poets who, as far as general poetical merit goes, might have written them. SAINTSBURY, GEORGE, 1881, Dryden (English Men of Letters), p. 28.

ASTRÆA REDUX

1662

Is well versified; the lines are seldom weak; the couplets have that pointed manner which Cowley and Denham had taught the world to require; they are harmonious, but not so varied as the style he afterwards adopted.-HALLAM, HENRY, 1837-39, Introduction to the Literature of Europe, pt. iv, ch. v, par. 38.

ANNUS MIRABILIS

1667

I am very well pleased this night with reading a poem I brought home with me last night from Westminster Hall, of Dryden's upon the present war; a very good poem. PEPYS, SAMUEL, 1666-67, Diary, Feb. 2.

This poem is written with great diligence, yet does not fully answer the expectation raised by such subjects and such a writer. With the stanza of Davenant he has sometimes his vein of parenthesis, and incidental disquisition, and stops his narrative for a wise remark. The general fault is, that he affords more sentiment

than description, and does not so much. impress scenes upon the fancy, as deduce consequences and make comparisons.JOHNSON, SAMUEL, 1779-81, Dryden, Lives of the English Poets.

Dryden fails in the power of elegant expression, till he ventures upon something which it is impossible to express. The love of conceit and point, that inveterate though decaying disease of the literature of the time, has not failed to infect the "Annus Mirabilis."-SCOTT, SIR WALTER, 1808-21, The Works of John Dryden, by Saintsbury, vol. IX, p. 83.

The "Annus Mirabilis" is a tedious performance; it is a tissue of far-fetched, heavy, lumbering conceits, and in the worst style of what has been denominated metaphysical poetry.-HAZLITT, WILLIAM, 1818, Lectures on the English Poets, p. 96.

Not

The "Annus Mirabilis" shows great command of expression, and a fine ear for heroic rhyme. Here its merits end. only has it no claim to be called poetry; but it seems to be the work of a man who could never, by any possibility, write poetry. Its affected similes are the best part of it. Gaudy weeds present a more encouraging spectacle than utter barrenness. There is scarcely a single stanza in this long work, to which the imagination seems to have contributed any thing. It is produced, not by creation, but by construction. It is made up, not of pictures, but of inferences.-MACAULAY, THOMAS BABINGTON, 1828, Dryden, Edinburgh Review, Critical and Miscellaneous Essays.

A very good poem, in some sort, it continues to be, in spite of its amazing blemishes. LOWELL, JAMES RUSSELL, 186890, Dryden, Prose Works, Riverside ed., vol. III, p. 134.

Both in its merits and in its defects it bears a close resemblance to the "Pharsalia" of Lucan. It is enriched with some fine touches of natural description, and, if the moonlight night at sea and the simile of the bees were borrowed from Virgil, the pictures of the dying hare, of the baffled falcon, of the herded beasts lying on the dewy grass, and of the moon "blunting its crescent on the edge of day," show that Dryden had the eye of an artist as he wandered about the park at Charlton. The work is disfigured with many "metaphysical" extravagances, but the King's prayer, as well as the concluding

stanzas, must rank among the most majestic passages in English rhetorical poetry. -COLLINS, JOHN CHURTON, 1878-95, Dryden, Quarterly Review; Essays and Studies, p. 29.

The fire and spirit of "Annus Mirabilis" are nothing short of amazing, when the difficulties which beset the author (though partly by his own choosing) are remembered. There was, first, the difficulty of his subject, which, as a perusal of the poem cannot fail to reveal the most unsuspecting reader, was by no means made up altogether of materials for congratulation. Yet the "Annus Mirabilis" must really have "done good" to the public; even at the present day it agreeably warms the John Bull sentiment, compounded of patriotism and prejudice, in the corner of an Englishman's heart.WARD, ADOLPHUS WILLIAM, 1880, English Poets, ed. Ward, vol. II, p. 440.

Dryden's poem is distinguished by masterly execution and dignity of style, but it has been justly pointed out that the subject lacks variety. Indeed, the feeling with which we read it is not wholly that of pleasure; but some admiration must be given to the viguor of the writer and to his skilful manipulation of a difficult stanza. A curious feature of the poem is the pious prayer which Charles is made to offer up for his afflicted subjects, and the answer it received.-DENNIS, JOHN, 1883, Heroes of Literature, p. 161.

There are good lines here and there,flashes of genius to lighten the way for one who will plod doggedly through. Few read it once; none read it a second time. -WATROUS, GEORGE A., 1898, ed., Selections from Dryden, Burns, Wordsworth, and Browning, Introduction, p. 3.

RELIGIO LAICI

1682

Is almost the only work of Dryden which can be considered as a voluntary effusion; in this, therefore, it might be hoped, that the full effulgence of his genius would be found. But unhappily the subject is rather argumentative than poetical: he intended only a specimen of metrical disputation:

And this unpolish'd rugged verse I chose, As fittest for discourse, and nearest prose. This, however, is a composition of great excellence in its kind, in which the familiar

is very improperly diversified with the solemn, and the grave with the humorous; in which metre has neither weakened the force, nor clouded the perspicuity of argument; nor will it be easy to find another example equally happy in this middle kind. of writing, which, though prosaick in some parts, rises to high poetry in others, and neither towers to the skies, nor creeps along the ground.-JOHNSON, SAMUEL, 1779-81, Dryden, Lives of the English Poets.

Took a walk, with Wordsworth, under Loughrigg. His conversation has been remarkably agreeable. To-day he talked. of Poetry. He held Pope to be a greater poet than Dryden; but Dryden to have most talent, and the strongest understanding. Landor once said to me: "Nothing was ever written in hymn equal to the beginning of Dryden's 'Religio Laici,'-the first eleven lines."-ROBINSON, HENRY CRABB, 1842, Diary, Jan. 6.

If in point of style the "Religio Laici" has none of that lightness of touch, and none of that felicitous grace, which throw such charm over the "Epistles" of Horace, on which it was, he says, modelled, it may, short though it be, challenge comparison with any didactic writing in verse since Lucretius vindicated the tenets of Epicurus. The opening verses of this poem are among the most majestic passages in our poetry.-COLLINS, JOHN CHURTON, 1878-95, Dryden, Quarterly Review; Essays and Studies, p. 51.

In one respect this takes the highest place among the works of Dryden, for it is the most perfect example he has given of that reasoning in rhyme of which he was so great a master. There is not and could not be any originality in the reasonings themselves, but Pope's famous couplet was never so finely illustrated, except by Pope himself:

"True wit is nature to advantage drest; What oft was thought, but ne'er so well exprest."

At the same time the poetry hardly rises to the height which the theme might have justified. There is little to captivate or astonish, but perpetual admiration attends upon the masterly conduct of the argument, and the ease with which dry and difficult propositions melt and glide in harmonious verse. GARNETT, RICHARD, 1895, The Age of Dryden, p. 27.