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points masters of assay, who shall reject all | affords no exception to this observation. His that is light or debased.

Tis true, that when the coarse and worthless dross
Is purged away, there will be mighty loss:
F'en Congreve, Southern, manly Wycherly,
When thus refined, will grievous sufferers be.
Into the melting pot when Dryden comes,
What horrid stench will rise, what noisome fumes!
How will he shrink, when all his lewd allay
And wicked mixture, shall be purged away!

Thus stands the passage in the last edition; but in the original there was an abatement of the censure, beginning thus:

But what remains wil be so pure, 'twill bear
Th' examination of the most severe.

Blackmore, finding the censure resented, and the civility disregarded, ungenerously omitted the softer part. Such variations discover a writer who consults his passions more than his virtue; and it may be reasonably supposed that Dryden imputes his enmity to its true cause.

Of Milbourne he wrote only in general terms, such as are always ready at the call of anger, whether just or not: a short extract will be suf


"He pretends a quarrel to me, that I have fallen foul upon priesthood; if I have, I am only to ask pardon of good priests, and am afraid his share of the reparation will come to little. Let him be satisfied that he shall never be able to force himself upon me for an adversary; I contemn him too much to enter into competition with him.

As for the rest of those who have written against me, they are such scoundrels that they deserve not the least notice to be taken of them; Blackmore and Milbourne are only distinguished from the crowd by being remembered to their infamy."

Dryden indeed discovered, in many of his writings, an affected and absurd malignity to priests and priesthood, which naturally raised him many enemies, and which was sometimes as unseasonably resented as it was exerted. Trapp is angry that he calls the sacrificer in the "Georgics" the holy butcher: the translation is not indeed ridiculous; but Trapp's anger arises from his zeal, not for the Author, but the priest; as if any reproach of the follies of paganism could be extended to the preachers of truth.

Dryden's dislike of the priesthood is imputed by Langbaine, and I think by Brown, to a repulse which he suffered when he solicited ordi- | nation; but he denies, in the preface to his "Fables," that he ever designed to enter into the church; and such a denial he would not have hazarded, if he could have been convicted of falsehood.

Malevolence to the clergy is seldom at a great distance from irreverence of religion, and Dryden

writings exhibit many passages, which, with all the allowance that can be made for characters and occasions, are such as piety would not have admitted, and such as may vitiate light and unprincipled minds. But there is no reason for supposing that he disbelieved the religion which he disobeyed. He forgot his duty rather than disowned it. His tendency to profaneness is th effect of levity, negligence, and loose conversation, with a desire of accommodating himself to the corruption of the times, by venturing to be wicked as far as he durst. When he professed himself a convert to popery, he did not pretend to have received any new conviction of the fundamental doctrines of Christianity.

The persecution of critics was not the worst of his vexations; he was much more disturbed by the importunities of want. His complaints of poverty are so frequently repeated, either with the dejection of weakness sinking in helpless misery, or the indignation of merit claiming its tribute from mankind, that it is impossible not to detest the age which could impose on such a man the necessity of such solicitations, or not to despise the man who could submit to such solicitations without necessity.

Whether by the world's neglect, or his own imprudence, I am afraid that the greatest part of his life was passed in exigencies. Such outcries were surely never uttered but in severe pain. Of his supplies or his expenses no probable estimate can now be made. Except the salary of the laureat, to which King James added the office of Historiographer, perhaps with some additional emoluments, his whole revenue seems to have been casual; and it is well known that he seldom lives frugally who lives by chance. Hope is always liberal; and they that trust her promises make little scruple of revelling to-day on the profits of the morrow.

Of his plays the profit was not great; and of the produce of his other works very little intelligence can be had. By discoursing with the late amiable Mr. Tonson, I could not find that any memorials of the transactions between his predecessor and Dryden had been preserved, except the following papers:

"I do hereby promise to pay John Dryden Esq. or order, on the 25th of March, 1699, the sum of two hundred and fifty guineas, in consideration of ten thousand verses, which the said John Dryden, Esq. is to deliver to me, Jacob Tonson, when finished, whereof seven thousand five hundred verses, more or less, are already in the said Jacob Tonson's possession. And I do hereby farther promise, and engage myself to make up the said sum of two hundred and fifty guineas three hundred pounds sterling to the said John Dryden, Esq. his executors, administrators, or assigns, at the beginning of the second impression of the said ten thousand verses.

"In witness whereof I have hereunto set my | of Ormond; a present not unsuitable to the hand and seal, this 20th day of March, 1698-9.

"Sealed and delivered, being first duly stamped, pursuant to the acts of Parliament for that purpose, in the presence of

"Ben. Portlock,

Will. Congreve."

"Jacob Tonson.

"March 24, 1698.

"Received then of Mr. Jacob Tonson the sum

magnificence of that splendid family; and he quotes Moyle, as relating that forty pounds were paid by a musical society for the use of "Alexander's Feast."

In those days the economy of government was yet unsettled, and the payments of the Exchequer were dilatory and uncertain; of this disorder there is reason to believe that the laureat sometimes felt the effects; for, in one of his prefaces, he complains of those, who, being entrusted with the distribution of the Prince's

of two hundred sixty-eight pounds fifteen shil-bounty, suffer those that depend upon it to lings, in pursuance of an agreement for ten languish in penury. thousand verses, to be delivered by me to the said Jacob Tonson, whereof I have already delivered to him about seven thousand five hundred, more or less he the said Jacob Tonson being obliged to make up the foresaid sum of two hundred sixty-eight pounds fifteen shillings three hundred pounds, at the beginning of the second impression of the foresaid ten thousand verses; "I say, received by me, "John Dryden.

"Witness, Charles Dryden."

Two hundred and fifty guineas, at 11. 1s. 6d. is 2681. 15s.

It is manifest, from the dates of this contract, that it relates to the volume of “ Fables," which contains about twelve thousand verses, and for which therefore the payment must have been afterwards enlarged.

Of his petty habits or slight amusements, tradition has retained little. Of the only two men whom I have found, to whom he was personally known, one told me that at the house which he frequented, called Will's Coffeehouse, the appeal upon any literary dispute was made to him: and the other related, that his armed chair, which in the winter had a settled and prescriptive place by the fire, was in the summer placed in the balcony, and that he called the two places his winter and his summer seat. This is all the intelligence which his two survivors afforded me.

One of his opinions will do him no honour in the present age, though in his own time, at least in the beginning of it, he was far from having it confined to himself. He put great confidence in the prognostications of judicial astrology. In the Appendix to the Life of I have been told of another letter yet remain- Congreve is a narrative of some of his predicing, in which he desires Tonson to bring him tions wonderfully fulfilled; but I know not the money, to pay for a watch which he had order-writer's means of information, or character of ed for his son, and which the maker would not veracity. That he had the configurations of leave without the price. the horoscope in his mind, and considered them as influencing the affairs of men, he does not forbear to hint.

The inevitable consequence of poverty is dependence. Dryden had probably no recourse in his exigencies but to his bookseller.

The par

The utmost malice of the stars is pas*.-
Now frequent trines the happier lights among,
And high-rais'd Jove, from his dark prison freed,
Those weights took off that on his planet hung,
Will gloriously the new laid works succeed.

ticular character of Tonson I do not know; but the general conduct of traders was much less liberal in those times than in our own; their views were narrower, and their manners grosser. To the mercantile ruggedness of that race, the delicacy of the poet was sometimes exposed. Lord He has elsewhere shown his attention to the Bolingbroke, who in his youth had cultivated planetary powers; and in the preface to his poetry, related to Dr. King, of Oxford, that "Fables" has endeavoured obliquely to justify one day when he visited Dryden, they heard, as his superstition by attributing the same to some they were conversing, another person entering of the ancients. The letter, added to this narthe house. "This," said Dryden, "is Tonson.rative, leaves no doubt of his notions or pracYou will take care not to depart before he goes away: for I have not completed the sheet which I promised him; and if you leave me unprotected, I must suffer all the rudeness to which his resentment can prompt his tongue."


So slight and so scanty is the knowledge which I have been able to collect concerning the private life and domestic manners of a man whom every English generation must mention with reverence as a critic and a poet.

What rewards he obtained for his poems, besides the payment of the bookseller, cannot be known. Mr. Derrick, who consulted some of his relations, was informed that his "Fables" DRYDEN may be properly considered obtained five hundred pounds from the Dutchess the father of English criticism, as the writer


who first taught us to determine upon principles the merit of composition. Of our former poets, the greatest dramatist wrote without rules, conducted through life and nature by a genius that rarely misled, and rarely deserted him. Of the rest, those who knew the laws of propriety had neglected to teach them.

the attestation of the heroes of Marathon by Demosthenes, fades away before it. In a few lines is exhibited a character, so extensive in its comprehension, and so curious in its limitations, that nothing can be added, diminished, or reformed; nor can the editors and admirers of Shakspeare, in all their emulation of reverence, boast of much more than of having diffused and paraphrased this epitome of excellence, of having changed Dryden's gold for baser metal, of lower

Two Arts of English Poetry were written in the days of Elizabeth by Webb and Puttenham, from which something might be learned, and a few hints had been given by Jonson and Cow-value, though of greater bulk. ley; but Dryden's "Essay on Dramatic Poetry" was the first regular and valuable treatise on the art of writing.

In this, and in all his other essays on the same subject, the criticism of Dryden is the criticism of a poet; not a dull collection of theorems, nor a rude detection of faults, which perhaps the censor was not able to have committed; but a gay and vigorous dissertation, where delight is mingled with instruction, and where the author proves his right of judgment by his power of performance.

He who, having formed his opinions in the present age of English literature, turns back to peruse this dialogue, will not perhaps find much increase of knowledge, or much novelty of instruction; but he is to remember, that critical principles were then in the hands of a few, who had gathered them partly from the ancients, The different manner and effect with which and partly from the Italians and French. The critical knowledge may be conveyed, was perstructure of dramatic poems was then not gen-haps never more clearly exemplified than in the erally understood. Audiences applauded by instinct; and poets perhaps often pleased by chance.

A writer who has obtained his full purpose loses himself in his own lustre. Of an opinion which is no longer doubted, the evidence ceases to be examined. Of an art universally practised, the first teacher is forgotten. Learning once made popular is no longer learning; it has the appearance of something which we have bestowed upon ourselves, as the dew appears to rise from the field which it refreshes.

To judge rightly of an author, we must transport ourselves to his time, and examine what were the wants of his contemporaries, and what were his means of supplying them. That which is easy at one time was difficult at another. Dryden at least imported his science, and gave his country what it wanted before; or rather, he imported only the materials, and manufactured them by his own skill.

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performances of Rymer and Dryden.
said of a dispute between two mathematicians,
"malim cum Scaligero errare, quam cum
Clavio recte sapere ;" that "it was more eligi-
ble to go wrong with one, than right with the
other.' A tendency of the same kind every
mind must feel at the perusal of Dryden's pre-
faces and Rymer's discourses. With Dryden
we are wandering in quest of Truth; whom we
find, if we find her at all, dressed in the graces
of elegance: and, if we miss her, the labour of
the pursuit rewards itself; we are led only
through fragrance and flowers. Rymer, with-
out taking a nearer, takes a rougher way;
every step is to be made through thorns and
brambles; and Truth, if we meet her, appears
repulsive by her mien, and ungraceful by her
habit. Dryden's criticism has the majesty of
a queen; Rymer's has the ferocity of a tyrant.

As he had studied with great diligence the art of poetry, and enlarged or rectified his notions, by experience perpetually increasing, he had his mind stored with principles and observations; he poured out his knowledge with little labour; for of labour, notwithstanding the multiplicity of his productions, there is sufficient reason to suspect that he was not a lover. To write con amore, with fondness for the employment, with perpetual touches and retouches, with unwillingness to take leave of his own idea, and an unwearied pursuit of unattainable perfection, was, I think, no part of his character.

The dialogue on the drama was one of his first essays of criticism, written when he was yet a timorous candidate for reputation, and therefore laboured with that diligence which he might allow himself somewhat to remit, when his name gave sanction to his positions, and his awe of the public was abated, partly by custom, and partly by success. It will not be easy to find, in all the opulence of our language, a treatise so artfully variegated with successive representations of opposite probabilities, so enlivened with magery, so brightened with illustrations. His portraits of the English dramatists are wrought with great spirit and diligence. The account of Shakspeare may stand as a perpe-pend upon the nature of things, and the structual model of encomiastic criticism; exact without minuteness, and lofty without exaggeration. The praise lavished by Longinus, on

His criticism may be considered as general or occasional. In his general precepts, which de

ture of the human mind, he may doubtless be safely recommended to the confidence of the reader; but his occasional and particular posi

tions were sometimes interested, sometimes negligent, and sometimes capricious. It is not without reason that Trapp, speaking of the praises which he bestows on Palamon and Arcite, says, "Novimus judicium Drydeni de poemate quodam Chauceri, pulchro sane illo, et admodum laudando, nimirum quod non modo vere epicum sit, set Iliada etiam atque Æneada æquet, imo superet. Sed novimus eodem tempore viri illius maximi non semper accuratissimas esse censuras, nec ad severissimam critices normam exactas; illo judice id plerumque optimum est, quod nunc præ manibus habet, et in quo nunc occupatur."

He is therefore by no means constant to himself. His defence and desertion of dramatic rhyme is generally known. Spence, in his remarks on Pope's "Odyssey," produced what he thinks an unconquerable quotation from Dryden's preface to the "Eneid," in favour of translating an epic poem into blank verse; but he forgets that when his author attempted the "Iliad," some years afterward, he departed from his own decision, and translated into rhyme.

When he has any objection to obviate, or any license to defend, he is not very scrupulous about what he asserts, nor very cautious, if the present purpose be served, not to entangle himself in his own sophistries. But, when all arts are exhausted, like other hunted animals, he sometimes stands at bay; when he cannot disown the grossness of one of his plays, he declares that he knows not any law that prescribes morality to a comic poet.

His remarks on ancient or modern writers are not always to be trusted. His parallel of the versification of Ovid with that of Claudian has been very justly censured by Sewel. His comparison of the first line of Virgil with the first of Statius is not happier. Virgil, he says, is soft and gentle, and would have thought Statius mad, if he had heard him thundering


Que superimposito moles geminata colosso.

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It will be difficult to prove that Dryden ever made any great advances in literature. As, having distinguished himself at Westminster under the tution of Busby, who advanced his scholars to a height of knowledge very rarely attained in grammar-schools, he resided after. wards at Cambridge; it is not to be supposed, that his skill in the ancient languages was deficient, compared with that of common students; but his scholastic acquisitions seem not proportionate to his opportunities and abilities. He could not, like Milton or Cowley, have made his name illustrious merely by his learning. He mentions but a few books, and those such as lie in the beaten track of regular study; from which, if ever he departs, he is in danger of losing himself in unknown regions.

In his dialogue on the drama, he pronounces with great confidence that the Latin tragedy of "Medea" is not Ovid's, because it is not sufficiently interesting and pathetic. He might have determined the question upon surer evidence; for it is quoted by Quintilian as the work of Seneca; and the only line which remains in Ovid's play, for one line is left us, is not there to be found. There was therefore no need of the gravity of conjecture, or the discussion of plot or sentiment, to find what was already known upon higher authority than such discussions can ever reach.

His literature, though not always free from ostentation, will be commonly found either obvious, and made his own by the art of dressing it. or superficial, which by what he gives, shows what he wanted or erroneous, hastily collected, and negligently scattered.

Yet it cannot be said that his genius is ever unprovided of matter, or that his fancy languishes in penury of ideas. His works abound with knowledge, and sparkle with illustrations. There is scarcely any science or faculty that does not supply him with occasional images and lucky similitudes; every page discovers a mind very widely acquainted both with art and nature, and in full possession of great stores of intellectual wealth. Of him that knows much it is natural to suppose that he has read with diligence: yet I rather believe that the knowledge of Dryden was gleaned from accidental intelligence and various conversations, by a quick ap

Statius perhaps heats himself, as he proceeds, to exaggeration somewhat hyperbolical; but undoubtedly Virgil would have been too hasty, if he had condemned him to straw for one sound-prehension, a judicious selection, and a happy ing line. Dryden wanted an instance, and the first that occurred was impressed into the ser


What he wishes to say, he says at hazard; he cited Gorbuduc, which he had never seen; gives a false account of Chapman's versification; and discovers, in the preface to his "Fables," that he translated the first book of the "Iliad" without knowing what was in the second.

* Preface to Ovid's "Metamorphoses."-Dr. J.

memory, a keen appetite of knowledge, and a powerful digestion; by vigilance that permitted nothing to pass without notice, and a habit of reflection that suffered nothing useful to be lost. A mind like Dryden's, always curious, always active, to which every understanding was proud to be associated, and of which every one solicited the regard, by an ambitious display of himself, had a more pleasant, perhaps a nearer way to knowledge than by the silent progress of solitary reading. I do not suppose that he despised

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Of all this, however, if the proof be demanded, I will not undertake to give it; the atoms of probability, of which my opinion has been formed, lie scattered over all his works: and by him who thinks the question worth his notice, his works must be perused with very close at tention.

Criticism, either didactic or defensive, occupies almost all his prose, except those pages which he has devoted to his patrons; but none of his prefaces were ever thought tedious. They have not the formality of a settled style, in which the first half of the sentence betrays the other. The pauses are never balanced, nor the periods modelled; every word seems to drop by chance, though it falls into its proper place. Nothing is cold or languid; the whole is airy, animated, and vigorous; what is little, is gay; what is great, is splendid. He may be thought to mention himself too frequently; but, while he forces himself upon our esteem, we cannot refuse him to stand high in his own. Every thing is excused by the play of images, and the sprightliness of expression. Though all is easy, nothing is feeble: though all seems careless, there is nothing harsh; and though since his earlier works more than a century has passed, they have nothing yet uncouth or obsolete.

He who writes much will not easily escape a manner such a recurrence of particular modes as may be easily noted. Dryden is always another and the same; he does not exhibit a second time the same elegances in the same form, nor appears to have any art other than that of expressing with clearness what he thinks with vigour. His style could not easily be imitated, either seriously or ludicrously; for, being always equable and always varied, it has no prominent or discriminative characters. The beauty who is totally free from disproportion of parts and features, cannot be ridiculed by an overcharged resemblance.

From his prose, however, Dryden derives only his accidental and secondary praise; the veneration with which his name is pronounced by every cultivator of English literature, is paid to him as he refined the language, improved the sentiments, and tuned the numbers of English poetry.

After about half a century of forced thoughts, and rugged metre, some advances towards nature and harmony had been already made by Waller and Denham; they had shown that long discourses in rhyme grew more pleasing when they were broken into couplets, and that verse consisted not only in the number but the arrangement of syllables.

But though they did much, who can deny that they left much to do? Their works were not many, nor were their minds of very ample comprehension. More examples of more modes of composition were necessary for the establishment of regularity, and the introduction of propriety in word and thought.

Every language of a learned nation necessarily divides itself into diction, scholastic and popular, grave and familiar, elegant and gross; and from a nice distinction of these different parts arises a great part of the beauty of style. But, if we except a few minds, the favourites of nature, to whom their own original rectitude was in the place of rules, this delicacy of selection was little known to our authors; our speech lay before them in a heap of confusion; and every man took for every purpose what chance might offer him.

There was therefore before the time of Dryden no poetical diction, no system of words at once refined from the grossness of domestic use, and free from the harshness of terms appropriated to particular arts. Words too familiar, or too remote, defeat the purpose of a poet. From those sounds which we hear on small or on coarse occasions, we do not easily receive strong impressions, or delightful images; and words to which we are nearly strangers, whenever they occur, draw that attention on themselves which they should transmit to things.

Those happy combinations of words which distinguished poetry from prose had been rarely attempted: we had few elegances or flowers of speech; the roses had not yet been plucked from the bramble, or different colours had not been joined to enliven one another.

It may be doubted whether Waller and Denham could have over-borne the prejudices which had long prevailed, and which even then were sheltered by the protection of Cowley. The new versification, as it was called, may be considered as owing its establishment to Dryden; from whose time it is apparent that English poetry has had no tendency to relapse to its former savageness.

The affluence and comprehension of our lan

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