remarks. But let honest credulity beware of receiving characters from contemporary writers. Clifford's remarks, by the favour of Dr. Percy, were at last obtained; and, that no man may ever want them more, I will extract enough to satisfy all reasonable desire. In the first letter his observation is only general: "You do live," says he, "in as much ignorance and darkness as you did in the womb; your writings are like a Jack-of-all-trades' shop; they have a variety, but nothing of value; and if thou art not the dullest plant-animal that ever the earth produced, all that I have conversed with are strangely mistaken in thee." In the second he tells him that Almanzor is not more copied from Achilles than from ancient Pistol. "But I am," says he, "strangely mistaken if I have not seen this very Almanzor of yours in some disguise about this town, and passing under another name. Pr'ythee tell me true, was not this huffcap once the Indian Emperor? and at another time did he not call himself Maximin? Was not Lyndaraxa once called Almeria? I mean, under Montezuma, the Indian Emperor. I protest and vow they are either the same, or so alike, that I cannot, for my heart, distinguish one from the other. You are, therefore, a strange unconscionable thief; thou art not content to steal from others, but dost rob thy poor wretched self too." The goodly London in her gallant trim, The phenix-daughter of the vanquish d old, Like a rich bride does on the ocean swim, And on her shadow rides in floating gold. Her flag aloft spread ruffling in the wind, And sanguine streamers seem'd the flood to fire: The weaver, charm d with what his loom design'd Goes on to sea, and knows not to retire. With roomy decks her guns of mighty strength, Whose low-laid mouths each mounting billow laves, Deep in her draught, and warlike in her length, She seems a sea-wasp flying in the waves. What a wonderful pother is here, to make all these poetical beautifications of a ship; that is, a phenix in the first stanza, and but a wasp in the last; nay, to make his humble comparison of a wasp more ridiculous, he does not say it flies upon the waves as nimbly as a wasp, or the like, but it seemed a wasp. But our author at the writing of this was not in his altitudes, to comNow was Settle's time to take his revenge. pare ships to floating palaces: a comparison to He wrote a vindication of his own lines; and, the purpose was a perfection he did not arrive if he is forced to yield any thing, makes his re- to till the Indian Emperor's days. But perhaps prisals upon his enemy. To say that his answer his similitude has more in it than we imagine; is equal to the censure, is no high commenda- this ship had a great many guns in her, and they, tion. To expose Dryden's method of analyzing put all together, made the sting in the wasp's his expressions, he tries the same experiment upon the same description of the ships in "The Indian Emperor," of which, however, he does not deny the excellence; but intends to show, that by studied misconstruction every thing may be equally represented as ridiculous. After so much of Dryden's elegant animadversions, justice requires that something of Settle's should be exhibited. The following observations are thereforc extracted from a quarto pamphlet of ninetyfive pages: I'll travel then to some remoter sphere, "I believe our learned author takes a sphere for a country; the sphere of Morocco; as if Morocco were the globe of earth and water; but a globe is no sphere neither, by his leave," &c. "So sphere must not be sense, unless it relates to a circular motion about a globe, in which sense the astronomers use it. I would desire him to expound those lines in 'Granada :" I'll to the turrets of the palace go, tail; for this is all the reason I can guess, why it seemed a wasp. But because we will allow him all we can to help out, let it be a phenix seawasp, and the rarity of such an animal may do much towards heightening the fancy. "It had been much more to his purpose, if he had designed to render the senseless play little, to have searched for some such pedantry as this: Two ifs scarce make one possibility. Rather than take your life, I will not live. man but himself would have come within the noise of. But he's a man of general learning and all comes into his play. ""Twould have done well too if he could have met with a rant or two, worth the observation. such as, Move swiftly, Sun, and fly a lover's pace; "But surely the sun, whether he flies a lover's or not a lover's pace, leaves weeks and months, nay, years too, behind him in his race. "Poor Robin, or any other of the philo-mathematics, would have given him satisfaction in the point. If I could kill thee now, thy fate's so low, Pil'd on thy back, can never pull it down poetry, but the promoter of his fortune. Langbaine places this play in 1673. The Earl of Rochester, therefore, was the famous Wilmot, whom yet tradition always represents as an enemy to Dryden, and who is mentioned by him with some disrespect in the preface to 'Juvenal.' "Now where that is, Almanzor's fate is fixed, | acknowledges not only as the defender of his I cannot guess: but, wherever it is, I believe Almanzor, and think that all Abdalla's subjects, piled upon one another, might not pull down his fate so well as without piling: besides, I think Abdalla so wise a man, that if Almanzor had told him that piling his men upon his back might do the feat, he would scarcely bear such a weight, for the pleasure of the exploit; but it is a huff, and let Abdalla do it if he dare. The people like a headlong torrent go, A very pretty allusion, contrary to all sense or reason. Torrents, I take it, let them wind never so much, can never return to their former course, unless he can suppose that fountains can go upwards, which is impossible; nay, more, in the foregoing page he tells us so too; a trick of a very unfaithful memory. But can no more than fountains upward flow. Which of a torrent, which signifies a rapid stream, is much more impossible. Besides, if he goes to quibble, and say, that it is possible by art water may be made return, and the same water run twice in one and the same channel; then he quite confutes what he says: for it is by being opposed, that it runs into its former course; for all engines that make water so return, do it by compulsion and opposition. Or, if he means a headlong torrent for a tide, which would be ridiculous, yet they do not wind in volumes but come fore-right back (if their upright lies straight to their former course), and that by opposition of the sea-water, that drives them back again, "And for fancy, when he lights of any thing like it, 'tis a wonder if it be not borrowed. As here, for example of, I find this fanciful thought in his 'Ann. Mirab.' "The Assignation, or Love in a Nunnery," a comedy (1673), was driven off the stage, against the opinion, as the Author says, of the best judges. It is dedicated in a very elegant address to Sir Charles Sedley; in which he finds an opportunity for his usual complaint of hard treatment and unreasonable censure. "Amboyna" (1673) is a tissue of mingled dia logue in verse and prose, and was perhaps written in less time than "The Virgin Martyr';" though the Author thought not fit, either ostentatiously or mournfully, to tell how little labour it cost him, or at how short a warning he produced it. It was a temporary performance, written in the time of the Dutch war, to inflame the nation against their enemies; to whom he hopes, as he declares in his epilogue, to make his poetry not less destructive than that by which Tyrtæus of old animated the Spartans. This play was written in the second Dutch war, in 1673. "Troilus and Cressida" (1679) is a play altered from Shakspeare; but so altered, that, even in Langbaine's opinion, "the last scene in the third act is a masterpiece." It is introduced by a discourse on "the Grounds of Criticism in Tragedy," to which I suspect that Rymer's book had given occasion. "The Spanish Friar” (1681) is a tragi-comedy, eminent for the happy coincidence and coalition of the two plots. As it was written against the papists, it would naturally at that time have friends and enemies; and partly by the popula rity which it obtained at first, and partly by the real power both of the serious and risible part, it continued long a favourite of the public. It was Dryden's opinion, at least for some time, and he maintained it in the dedication of this play, that the drama required an alterna tion of comic and tragic scenes; and that it is necessary to mitagate by alleviations of merriment the pressure of ponderous events, and the fatigue of toilsome passions. "Whoever," says he, "cannot perform both parts is but half a writer for the stage." Old father Thames rais'd up his reverend head: But fear'd the fate of Simoeís would return; Deep in the ooze he sought his sedgy bed; And shrunk his waters back into his urn. This is stolen from Cowley's 'Davideis,' p. 9. Swift Jordan started, and straight backward fled, Hiding amongst thick reeds his aged head. And when the Spaniards their assault begin, At once beat those without and those within. "This Almanzor speaks of himself; and sure for one man to conquer an army within the city, "The Duke of Guise," a tragedy (1683) and another without the city, at once, is some-written in conjunction with Lee, as "Oedipus" thing difficult: but this flight is pardonable to some we meet with in Granada;' Osmin, speaking of Almanzor, Who, like a tempest that outrides the wind, Made a just battle, ere the bodies join'd. Pray, what does this honourable person mean by a tempest that outrides the wind! a tempest that outrides itself? To suppose a tempest without wind, is as bad as supposing a man to walk without feet; for if he supposes the tempest to be something distinct from the wind, yet, as being the effect of wind only, to come before the cause is a little preposterous; so that if he takes it one way, or if he takes it the other, those two ifs will scarcely make one possibility." Enough of Settle. Marriage a-la-mode" (1673) is a comedy dedicated to the Earl of Rochester; whom he had been before, seems to deserve notice only for the offence which it gave to the remnant of the covenanters, and in general to the enemies of the court, who attacked him with great violence, and were answered by him; though at last he seems to withdraw from the conflict, by transferring the greater part of the blame or merit to his partner. It happened that a contract had been made between them, by which they were to join in writing a play and "he happened," says Dryden, "to claim the promise just upon the finishing of a poem, when I would have been glad of a little respite.-Two-thirds of it belonged to him; and to me only the first scene of the play, the whole fourth act, and the first half, or somewhat more, of the fifth." This was a play written professedly for the party of the Duke of York, whose succession was then opposed. A parallel is intended be-tible of sentiments accommodated to familiar in tween the leaguers of France and the covenanters cidents. The complaint of life is celebrated; of England and this intention produced the and there are many other passages that may be controversy. read with pleasure. : "Albion and Albanius" (1685) is a musical This play is addressed to the Earl of Muldrama or opera, written, like "The Duke of grave, afterwards Duke of Buckingham, himGuise," against the republicans. With what self, if not a poet, yet a writer of verses, and a success it was performed, I have not found.* critic. In this address Dryden gave the first "The state of Innocence and Fall of Man" hints of his intention to write an epic poem. He (1675) is termed by him an opera: it is rather mentions his design in terms so obscure, that he a tragedy in heroic rhyme, but of which the seems afraid lest his plan should be purloined, personages are such as cannot decently be ex-as, he says, happened to him when he told it hibited on the stage. Some such production more plainly in his preface to "Juvenal." was foreseen by Marvel, who writes thus to "The design," says he, 'you know is great, Milton: the story English, and neither too near the present times, nor too distant from them." "Or if a work so infinite be spann'd, Jealous I was lest some less skilful hand, (Such as disquiet always what is well, And by ill-imitating would excel,) us, "All for Love, or the World well Lost," (1678,) a tragedy founded upon the story of Antony and Cleopatra, he tells "is the only play which he wrote for himself;" the rest consent accounted the work in which he has adwere given to the people. It is by universal Might hence presume the whole creation's day To change in scenes, and show it in a play." It is another of his hasty productions: for the heat of his imagination raised it in a month.mitted the fewest improprieties of style or chaThis composition is addressed to the Princess of Modena, then Dutchess of York, in a strain of flattery which disgraces genius, and which it was wonderful that any man that knew the meaning of his own words could use without self-detestation. It is an attempt to mingle earth and heaven, by praising human excellence in the language of religion. The preface contains an apology for heroic verse and poetic license; by which is meant not any liberty taken in contracting or extending words, but the use of bold fictions and ambitious figures. The reason which he gives for printing what was never acted cannot be overpassed: "I was induced to it in my own defence, many hundred copies of it being dispersed abroad without my knowledge or consent; and every one gathering new faults, it became at length a libel against me." These copies, as they gathered faults, were apparently manuscript, and he lived in an age very unlike ours, if many hundred copies of fourteen hundred lines were likely to be transcribed. An author has a right to print his own works, and need not seek an apology in falsehood; but he that could bear to write the dedication felt no pain in writing the preface. "Aureng Zebe" (1676) is a tragedy founded on the actions of a great prince then reigning, but over nations not likely to employ their critics upon the transactions of the English stage. If he had known and disliked his own character, our trade was not in those times secure from his resentment. His country is at such a distance, that the manners might be safely falsified, and the incidents feigned: for the remoteness of place is remarked, by Racine, to afford the same conveniences to a poet as length of time. racter; but it has one fault equal to many, though rather moral than critical, that, by admitting the romantic omnipotence of Love, he has recommended, as laudable and worthy of imitation, that conduct which, through all ages, the good have censured as vicious, and the bad despised as foolish. Of this play, the prologue and the epilogue, though written upon the common topics of malicious and ignorant criticisms, and without any particular relation to the characters or incidents of the drama, are deservedly celebrated for their elegance and sprightliness." Limberham, or the Kind Keeper," (1680) is a comedy, which, after the third night, was prohibited as too indecent for the stage. What gave offence was in the printing, as the Author says, altered or omitted. Dryden confesses that its indecency was objected to; but Langbaine, who yet seldom favours him, imputes its expul sion to resentment, because it so much exposed the keeping part of the town." 66 "Oedipus" (1679) is a tragedy formed by Dryden and Lee, in conjunction, from the works of Sophocles, Seneca, and Corneille. Dryden planned the scenes, and composed the first and third acts. "Don Sebastian" (1690) is commonly esteemed either the first or second of his dramatic performances. It is too long to be all acted, and has many characters and many incidents and though it is not without sallies of frantic 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 comic; but which, This play is written in rhyme, and has the I suppose, that age did not much commend, and appearance of being the most elaborate of all the this would not endure. There are, however, dramas. The personages are imperial; but the passages of excellence universally acknowledgdialogue is often domestic, and therefore suscep-ed; the dispute and the reconciliation of Dorax * Downes says, it was performed on a very unlucky day, viz. that on which the Duke of Monmouth landed in the west and he intimates, that the consternation into which the kingdom was thrown by this event was a reason why it was performed but six times and was in general ill received.-H. and Sebastian has always been admired. This play was first acted in 1690, after Dryden had for some years discontinued dramatic poetry. Amphytrion" is a comedy derived from Plautus and Moliere, The dedication is dated Oct. 1690. This play seems to have succeeded | English language, and which he, who had con sidered with great accuracy the principles of writing, was able to distribute copiously as occasions arose. By these dissertations the public judgment must have been much improved; and Swift, who conversed with Dryden, relates that he regretted the success of his own instructions, and found his readers made suddenly too skilful to be easily satisfied. at its first appearance; and was, I think, long considered as a very diverting entertainment. "Cleomenes" (1692) is a tragedy, only remarkable as it occasioned an incident related in the "Guardian," and allusively mentioned by Dryden in his preface. As he came out from the representation, he was accosted thus by some airy stripling: "Had I been left alone with a young beauty, I would not have spent my time His prologues had such reputation, that for like your Spartan." "That, sir," said Dry-some time a play was considered as less likely den, "perhaps is true; but give me leave to tell to be well received, if some of his verses did not you that you are no hero." introduce it. The price of a prologue was two "King Arthur" (1691) is another opera. It guineas, till, being asked to write one for Mr. was the last work that Dryden performed for Southern, he demanded three: "Not," said he, King Charles, who did not live to see it exhi-"young man, out of disrespect to you: but the bited, and it does not seem to have been ever brought upon the stage.* In the dedication to the Marquis of Halifax, there is a very elegant character of Charles, and a pleasing account of his latter life. When this was first brought upon the stage, news that the Duke of Monmouth had landed was told in the theatre; upon which the company departed, and "Arthur" was exhibited no more. players have had my goods too cheap." Though he declares that in his own opinion his genius was not dramatic, he had great confidence in his own fertility; for he is said to have engaged, by contract, to furnish four plays a year. It is certain that in one year, 1678, he published "All for Love," Assignation," two parts of the "Conquest of Granada," "Sir Martin Mar-all," and the "State of Innocence;" six complete plays, with a celerity of performance, which, though all Langbaine's charges of plagiarism should be allowed, shows such facility of composition, such readiness of language, and such copiousness of sentiment, as, since the time of Lopez de Vega, perhaps no other author has ever possessed. He did not enjoy his reputation, however great, nor his profits, however small, without molestation. He had critics to endure, and rivals to oppose. The two most distinguished wits of the nobility, the Duke of Buckingham and Earl of Rochester declared themselves his enemies. His last drama was "Love Triumphant," a tragi-comedy. In his dedication to the Earl of Salisbury, he mentions "the lowness of fortune to which he has voluntarily reduced himself, and of which he has no reason to be ashamed." This play appeared in 1694. It is said to have been unsuccessful. The catastrophe, proceeding merely from a change of mind, is confessed by the author to be defective. Thus he began and ended his dramatic labours with ill success. From such a number of theatrical pieces, it will be supposed, by most readers, that he must have improved his fortune; at least that such diligence with such abilities must have set penury at defiance. But in Dryden's time the drama was very far from that universal appro- Buckingham characterised him, in 1671, by bation which it has now obtained. The play-the name of Bayes in "The Rehearsal;" a farce house was abhorred by the puritans, and avoid- which he is said to have written with the assist ed by those who desired the character of serious-ance of Butler, the author of "Hudibras :" Mar ness or decency. A grave lawyer would have debased his dignity, and a young trader would have impaired his credit, by appearing in those mansions of dissolute licentiousness. The profits of the theatre, when so many classes of the people were deducted from the audience, were not great and the poet had, for a long time, but a single night. The first that had two nights was Southern and the first that had three was Rowe. There were, however, in those days, To adjust the minute events of literary history arts of improving a poet's profit, which Dryden is tedious and troublesome; it requires indeed forbore to practise; and a play therefore seldom no great force of understanding, but often deproduced him more than a hundred pounds by pends upon inquiries which there is no opporthe accumulated gain of the third night, the de-tunity of making, or is to be fetched from books dication, and the copy. Almost every piece had a dedication, written with such elegance and luxuriance of praise, as neither haughtiness nor avarice could be imagined able to resist. But he seems to have made flattery too cheap. That praise is worth nothing of which the price is known. To increase the value of his copies, he often accompanied his work with a preface of criticism; a kind of learning then almost new in the This is a mistake. It was set to music by Purcell, and well received, and is yet a favourite entertainment.-H. tin Clifford, of the Charter-house; and Dr. Sprat, the friend of Cowley, then his chaplain. Dryden and his friends laughed at the length of time, and the number of hands, employed upon this performance; in which, though by some artifice of action it yet keeps possession of the stage, it is not possible now to find any thing that might not have been written without so long delay, or a confederacy so numerous. and pamphlets not always at hand. "The Rehearsal" was played in 1671,§ and yet is represented as ridiculing passages in Johnson has here quoted from memory. Warbur ton is the original relater of this anecdote, who says he had it from Southern himself. According to him, Dryden's usual price had been four guineas, and he made Southern pay sir. In the edition of Southern's plays, 1764, we have a different deviation from the truth, five and ten guineas. Malone.-J. B. Dr. Johnson in this assertion was misled by Lang. baine. Only one of these plays appeared in 1678. Nor were there more than three in any one year. The dates are now added from the original editions.-R. It was published in 1672.-R. "The Conquest of Granada" and "Assigna- There is one passage in "The Rehearsal" still remaining, which seems to have related originally to Davenant. Bayes hurts his nose, and comes in with brown paper applied to the bruise; how this affected Dryden does not appear. Davenant's nose had suffered such diminution by mishaps among the women, that a patch upon that part evidently denoted him. some future censure; but he lessens the smart of his wounds by the balm of his own approbation, and endeavours to repel the shafts of criticism by opposing a shield of adamantine confidence. The perpetual accusation produced against him was that of plagiarism, against which he never attempted any vigorous defence; for though he was perhaps sometimes injuriously censured, he would, by denying part of the charge, have confessed the rest; and, as his adversaries had the proof in their own hands, he, who knew that wit had little power against facts, wisely left, in that perplexity which it generally produces, a question which it was his interest to suppress, and which, unless provoked by vindication, few were likely to examine. Though the life of a writer, from about thirtyfive to sixty-three, may be supposed to have been sufficiently busied by the composition of eightand-twenty pieces for the stage, Dryden found room in the same space for many other under It is said likewise that Sir Robert Howard was once meant. The design was probably to ridicule the reigning poet, whoever he might be. Much of the personal satire to which it might owe its first reception, is now lost or obscured. Bayes probably imitated the dress, and mimick-takings. ed the manner of Dryden: the cant words which are so often in his mouth may be supposed to have been Dryden's habitual phrases, or customary exclamations. Bayes, when he is to write, is blooded and purged; this, as Lamotte relates himself to have heard, was the real practice of the poet. There were other strokes in "The Rehearsal" by which malice was gratified; the debate between Love and Honour, which keeps Prince Volscius in a single boot, is said to have alluded to the misconduct of the Duke of Ormond, who lost Dublin to the rebels while he was toying with a mistress. 66 But, how much soever he wrote, he was at least once suspected of writing more: for, in 1679, a paper of verses, called "An Essay on Satire," was shown about in manuscript; by which the Earl of Rochester, the Dutchess of Portsmouth, and others, were so much provoked, that, as was supposed, (for the actors were never discovered,) they procured Dryden, whom they suspected as the author, to be waylaid and beaten. This incident is mentioned by the Duke of Buckinghamshire,† the true writer, in his "Art of Poetry;" where he says of Dryden, Though prais'd and beaten for another's rhymes, His own deserve as great applause sometimes. The Earl of Rochester, to suppress the reputation of Dryden, took Settle into his protec- name was thought necessary to the success of His reputation in time was such, that his tion, and endeavoured to persuade the public every poetical or literary performance, and therethat its approbation had been to that time mis-fore he was engaged to contribute something, placed. Settle was a while in high reputation; whatever it might be, to many publications. his " Empress of Morocco," having first delight-He prefixed the Life of Polybius to the translaed the town, was carried in triumph to White-tion of Sir Henry Sheers; and those of Lucian hall, and played by the ladies of the court. Now was the poetical meteor at the highest: the next moment began its fall. Rochester withdrew his patronage: seemingly resolved, says one of his biographers, "to have a judg ment contrary to that of the town;" perhaps being unable to endure any reputation beyond a certain height, even when he had himself con and Plutarch, to versions of their works by different hands. Of the English Tacitus he translated the first book: and, if Gordon be credited, translated it from the French. Such a charge can hardly be mentioned without some degree of indignation; but it is not, I suppose, so much to be inferred, that Dryden wanted the literature necessary to the perusal of Tacitus, Neither critics nor rivals did Dryden much as that, considering himself as hidden in a mischief, unless they gained from his own tem-writing merely for money, was contented to get crowd, he had no awe of the public; and, per the power of vexing him, which his frequent it by the nearest way. tributed to raise it. bursts of resentment give reason to suspect. baine.-C. This remark, as Mr. Malone observes, is founded upon He is always angry at some past, or afraid of by the poets of the time, among which one was In 1680, the Epistles of Ovid being translated There is no contradiction, according to Mr. Malone, the work of Dryden, and another of Dryden but what arises from Dr. Johnson's having copied the and Lord Mulgrave, it was necessary to introerroneous dates assigned to these plays by Lang-duce them by a preface; and Dryden, who on such occasions was regularly summoned, prethe erroneous dates with which Johnson was supplied fixed a discourse upon translation, which was by Langbaine. "The Rehearsal" was played in 1671, then struggling for the liberty that it now enbut not published till the next year. "The Wild Gal-joys. Why it should find any difficulty in lant" was printed in 1659; "The Maiden Queen" in breaking the shackles of verbal interpretation, 1663; "Tyrannic Love" in 1670; the two parts of "Granada" were performed in 1669 and 1670, though not printed till 1672. ↑ Additions were afterwards made to Mentioned by A. Wood, Athen. Oxon. vol. ii. S04 "The Rehearsal,” and among these are the "Parodies | 2d ed.--C. on Assignation," which are not to be found in Bucking. Dryden translated two entire epistles, "Canace to ham's play, as it originally appeared. Mr. Malone Macareus," and "Dido to neas." "Helen to Paris' denies that there is any allusion to "Marriage a-la- was translated by him and Lord Mulgrave Malone mode." See Malone, p. 100.—J. B. -J. B. |