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DRY DE N.
0 F the great poet whose life I am about to delineate, the curiosity which
his reputation must excite, will require a display more ample than can now be given. His contemporaries, however they reverenced his genius, left his life unwritten ; and nothing therefore can be known beyond what casual mention and uncertain tradition have supplied.
JOHN DRYDEN was born August 9, 1631, at Aldwincle near Oundle, the son of Erasmus Dryden of Tichmersh; who was the third son of Sir Erasmus Dryden, Baronet, of Canons Ashby. All these places are in Northamptonshire; but the original stock of the family was in the county of Huntingdon.
He is reported by his last biographer, Derrick, to have inherited from his father an estate of two hundred a year, and to have been bred, as was said, an Anabaptist. For either of these particulars no authority is given. Such a fortune ought to have secured him from that poverty which seems always to have oppressed him; or, if he had wasted it, to have made him ashamed of publishing his necessities. But though he had many enemies, who undoubtedly examined his life with a scrutiny sufficiently malicious, I do not remember that he is ever charged with waste of his patrimony. He was indeed sometimes reproached for his first religion. I am therefore inclined to believe that Derrick's intelligence was partly true, and partly erroneous.
From Westminster School, where he was instructed as one of the king's scholars by Dr. Busby, whom he long after continued to reverence, he was in 1650 elected to one of the Westminster scholarships at Cambridge*.
Of his school performances has appeared only a poem on the death of Lord Hastings, composed with great ambition of such conceits as, notwithstanding the reformation begun by Waller and Denham, the example of Cowley still kept in reputation. Lord Hastings died of the small-pox; and his poet has made of the pustules first rosebuds, and then gems ; at last exalts them into stars; and says,
* He went off to Trinity College, and was adinitted to a Batchelor's Degree in 1953. H.
No comet need foretell his change drew on,
corps might seem a constellation. At the university he does not appear to have been eager of poetical distinction, or to have lavished his early wit either on fictitious subjects or public occasions. He probably considered that be who purposed to be an author, ought first to be a student. He obtained, whatever was the reason, no fellowship in the College. Why he was excluded cannot now be known, and it is vain to guess; had he thought himself injured, he knew how to complain. In the life of Plutarch he mentions his education in the College with gratitude ; but, in a prologue at Oxford, he has these lines :
Oxford to him a dearer name shall be
He chooses Athens in his riper age. It was not till the death of Cromwell, in 1658, that he became a public candidate for fame, by publishing Heroic Stanzas on the late Lord Protector, which compared with the verses of Sprat and Waller on the same occasion, were suficient to raise great expectations of the rising poet.
When the king was restored, Dryden, like the other panegyrists of usurpation, changed his opinion, or his profession, and published Astrid Redux, a poem on the happy restoration and return of his most sacred Majesty King Charles the Second,
The reproach of inconstancy was, on this occasion, shared with such numbers, that it produced neither hatred nor disgrace ! if he changed, he changed with the nation. It was, however, not totally forgotten when his reputation raised him enemies,
The same year he praised the new king in a second poem on his restoration, In the ASTREA was the line,
An horrid stillness first invades the car,
fear. for which he was persecuted with perpetual ridicule, perhaps with more than was deserved. Silence is indeed mere privation ; and, so considered, cannot invade ; but privation likewise certainly is darkness, and probably cold; yet poetry has never been refused the right of ascribing effects or agency to them 26 'to positive powers. No man scruples to say that darkness hinders him from his work; or that cold bas killed the plants. Death is also privation ; yeç who has made any difficulty of assigning to Death a dart and the power of striking ?
In settling the order of his works there is some difficulty ; for, even when. they are important enough to be formally offered to a patron, he does not commonly date his dedication; the time of writing and publishing is not always the same ; nor can the first editions be easily found, if even from them could be obtained the recessary information,
• The time at which his first play was exhibited is not certainly known, because it was not printed till it was some years afterwards altered and revived; but since the plays are said to be printed in the order in which they were written, from the dates of some, those of others may be inferred; and thus ic'may be collected that in 1663, in the thirty-second year of his life, he commenced a writer for the stage; compelled undoubtedly by necessity, for he appears never to have loved that exercise of his genius, or to have much pleased himself with his own dramas.
Of the stage, when he had once invaded it, he kept possession for many years; not indeed without the competition of rivals who sometimes prevailed, or the censure of criticks, which was often poignant and often just; but with such a degree of reputation as made him at least secure of being heard, whatever might be the final determination of the publick.
* His first piece was a comedy called the Wild Gallant. He began with no happy auguries; for his performance was so much disapproved, that he was compelled to recall it, and change it from its imperfect state to the form in which it now appears, and which is yet sufficiently defective to vindicate the criticks.
I wish that there were no necessity of following the progress of his theatrical fame, or tracing the meanders of his mind through the whole series of his dramatick performances; it will be fit, however, to enumerate them, and to take especial notice of those that are distinguished by any peculiarity, intrinsick or concomitant; for the composition and fate of eight and twenty dramas include too much of a poetical life to be omitted.
In 1651 he published the Rival Ladies, which he dedicated to the earl of Orrery, a man of ligh reputation both as a writer and a statesman. In this play he inade his essay of dramatick rhyme, which he defends in his dedication, with sufficient certainty of a favourable hearing ; for Orrery himself was a writer of rhyming tragedies.
He then joined with Sir Robert Howard in the Indian Queen, a tragedy in rhyme. The parts which either of them wrote are not distinguished.
The Indian Emperor was published in 1657. It is a tragedy in rhyme, intended for a sequel to Howard's Indian Queen. Of this connection notice was given to the audience by printed bills, distributed at the door ; an expedient supposed to be ridiculed in the Rehearsal, when Bayes tells how many reams he has printed, to instill into the audience some conception of his plot.
In this play is the description of Night, which Rymer has made famous by preferring it to those of all other poețs.
The practice of making tragedies in rhyme was introduced soon after the Restoration, as it seems by the earl of Orrery, in compliance with the opinion of Charles the Second, who had formed his taste by the French theatre; and Dryden, who wrote, and made no difficulty of declaring that he wrote only to'
please, and who perhaps knew that by his dexterity of versification he was more likely to excel others in rhyme than without it, very readily adopted his master's preference. He therefore made rhyming tragedies, till, by the prevalence of manifest propriety, he seems to have grown ashamed of making them any longer.
To this play is prefixed a very vehement defence of dramatick rhyme, in confutation of the preface to the Duke of Lerma, in which Sir Robert Howard had censured it.
In 1667 he published Annus Mirabilis, the Year of Wonders, which may be esteemed one of his most elaborate works.
It is addressed to Sir Robert Howard by a letter, which is not properly a dedication ; and, writing to a poet, he has interspersed many critical observations, of which some are common, and some perhaps ventured without much consideration. He began, even now, to exercise the domination of conscious genius, by recommending his own performance: “ I am satisfied that as the “ Prince and General [Rupert and Monk] are incomparably the best subjects " I ever had, so what I have written on them is much better than what I “ have performed on any other. As I have endeavoured to adorn my poem “ with noble thoughts, so much more to express those thoughts with « elocution."
It is written in quatrains, or heroick stanzas of four lines : a measure which he had learned from the Gordibert of Davenant, and which he then thought the most majestick that the English language affords. Of this stanza he mentions the encumbrances, encreased as they were by the exactness which the age required. It was, throughout his life, very much his custom to recommend his works, by representation of the difficulties that he had encountered, without appearing to have sufficiently considered, that where there is no difficulty there is no praise.
There seems to be in the conduct of Sir Robert Howard and Dryden towards each other, something that is not now easily to be explained. Dryden, in his dedication to the earl of Orrery, had defended dramatick rhyme; and Howard, in the preface to a collection of plays, had censured his opinion. Dryden vindicated himself in his Dialogue on. Dramatick Poetry ; Howard, in his preface to the Duke of Lerma, animadverted on the Vindication ; and Dryder, in a Preface to the Indian Emperor, replied to the Animadversions with great asperity, and almost with contumely. The dedication to this play is dated the year in which the Annus Mirabilis was published. Here appears a strange inconsistency; but Langbaine affords some help, by relating that the answer to Howard was not published in the first edition of the play, but was added when it was afterwards re-printed; and as the Duke of Lerma did not appear till 1668, the same year in which the dialogue was published, there was time enough for enmity to grow up between authors, who, writing both for the theatre, were naturally rivals.
He was now so much distinguished, that in. 1668 he succeeded Sir William Davenant as poer-laureat. The salary of the laureat had been raised in fa vour of Jonson, by Charles the First, from an hundred marks to one hundred pounds a year, and a tierce of wine ; a revenue in those days not inadequate to the conveniences of life.
The same year he published his Essay on Dramátick Poetry, an elegant and instructive dialogue, in which we are told by Prior, that the principal character is meant to represent the duke of Dorset. This work seems to have given Addison a model for his Dialogues upon Medals.
Secret Love, or the Maiden Queen, (1668) is a tragi-comedy. In the preface he discusses a curious question, whether a poet can judge well of his own productions ? and determines very justly, that, of the plan and disposition, and all that can be reduced to principles of science, the author may depend upon his own opinions ; but that, in those parts where fancy predominates, self-love may easily deceive. He might have observed, that whar is good only because it pleases, cannot be pronounced good till it has been found to please.
Sir Martin Marr-all (1668) is a comedy, published without preface or dedication, and at first without the name of the author. Langbaine charges it, like most of the rest, with plagiarism ; and observes that the song is translated from Voiture, allowing however that both the sense and measure are exactly observed.
The Tempest (1670) is an alteration of Shakspeare's play, made by Dryden in conjunction with Davenant, “ whom,” says he, “ I found of so quick a « fancy, that nothing was proposed to him in which he could not suddenly "produce a thought extremely pleasant and surprising; and those first " thoughts of his, contrary to the Latin proverb, were not always the least " happy, and as his fancy was quick, so likewise were the products of it « remote and new.
He borrowed not of any other, and his imaginations were such as could not easily enter into any other man.”
The effect produced by the conjunction of these two powerful minds was, that to Shakspeare's monster Caliban is added a sister-monster Sycorax; and a woman, who, in the original play, had never seen a man, is in this brought acquainted with a man that had never seen a woman.
About this time, in 1673, Dryden seems to have had his quiet much disa turbed by the success of the Empress of Morocco, a tragedy written in rhyme by Elkanah Settle ; which was so much applauded, as to make him think his supremacy of reputation is some danger. Settle had not only been prosperous on the stage, but, in the confidence of success, had published his play, with sculptures and a preface of defiance. Here was one offence added to another; and, for the last blast of inflammation, it was acted at Whitehall by the court-ladies.
Dryden could not now repress these emotions, which he called indignation, and others jealousy ; but wrote upon the play and the dedication sucha criticism as malignant impatience could pour out in baste.