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opportunity of making, or is to be fetched from books and pamphlets not always at hand.

"The Rehearsal" was played in 1671, and yet is represented as ridiculing passages in "The Conquest of Granada" and "Assignation," which were not published till 1678; in "Marriage a-la-mode," published in 1673; and in "Tyrannic Love," in 1677. These contradictions shew how rashly satire is applied.

It is said that this farce was originally intended against Davenant, who, in the first draught, was characterised by the name of Bilboa. Davenant had been a soldier and an adventurer.

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.

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 mimicked 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 where 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.

The Earl of Rochester, to suppress the reputation of Dryden, took Settle into his protection, and endeavoured to persuade the public that its approbation had been to that time misplaced. Settle was a while in high reputation; his "Empress of Morocco," having first delighted the town, was carried in triumph to Whitehall, 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 judgment contrary to that of the town;" perhaps being unable to endure any reputation beyond a certain height, even when he had himself contributed to raise it.

Neither critics nor rivals did Dryden much mischief, unless they gained from his own temper the power of vexing him, which his frequent bursts of resentment give reason to suspect. He is always angry at some past, or afraid of 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 thirty-five to sixtythree, may be supposed to have been sufficiently busied by the composition of eight-and twenty pieces for the stage, Dryden found room in the same space for many other undertakings.

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 shewn 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.

His reputation in time was such, that his name was thought necessary to the success of every poetical or literary performance, and therefore he was engaged to contribute something, whatever it might be, to many publications. He prefixed the Life of Polybius to the translation of Sir Henry

Sheers: and those of Lucian 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, as that, considering himself as hidden in a crowd, he had no awe of the public; and, writing merely for money, was contented to get it by the nearest way.

In 1680, the Epistles of Ovid being translated by the poets of the time, among which one was the work of Dryden, and another of Dryden and Lord Mulgrave, it was necessary to introduce them by a preface; and Dryden, who on such occasions was regularly summoned, prefixed a discourse upon translation, which was then struggling for the liberty that it now enjoys. Why it should find any difficulty in breaking the shackles of verbal interpretation, which must for ever debar it from elegance, it would be difficult to conjecture, were not the power of prejudice every day observed. The authority of Jonson, Sandys, and Holiday, had fixed the judgment of the nation; and it was not easily believed that a better way could be found than they had taken, though Fanshaw, Denham, Waller, and Cowley, had tried to give examples of a different practice.

In 1681, Dryden became yet more conspicuous by uniting politics with poetry, in the memorable satire called "Absalom and Achitophel," written against the faction which, by Lord Shaftesbury's incitement, set the Duke of Monmouth at its head.

Of this poem, in which personal satire was applied to the support of public principles, and in which therefore every mind was interested, the reception was eager, and the sale so large, that my father, an old bookseller, told me, he had not known it equalled but by Sacheverell's Trial.

The reason of this general perusal Addison has attempted to derive from the delight which the mind feels in the investigation of secrets: and thinks that curiosity to decipher the names procured readers to the poem. There is no need to inquire why those verses were read, which, to all the attractions of wit, elegance, and harmony, added the co-operation of all the factious passions, and filled every mind with triumph

or resentment.

It could not be supposed that all the provocation given by Dryden would be endured without resistance or reply. Both his person and his party were exposed in their turns to the shafts of satire, which, though neither so well pointed, nor perhaps so well aimed, undoubtedly drew blood.

One of these poems is called "Dryden's Satire on his Muse;" ascribed, though, as Pope says, falsely, to Somers, who was afterwards chancellor. The poem, whosesoever it was, has much virulence, and some sprightliness. The writer tells all the ill that he can collect both of Dryden and his friends.

The poem of "Absalom and Achitophel" had two answers, now both forgotten; one called "Azaria and Hushai;" the other, "Absalom Senior." Of these hostile compositions, Dryden apparently imputes "Absalom Senior" to Settle, by quoting in his verses against him the second line. "Azaria and Hushai" was, as Wood says, imputed to him, though it is somewhat unlikely that he should write twice on the same occasion. This is a difficulty which I cannot remove, for want of a minuter knowledge of poetical transactions.

The same year he published "The Medal," of which the subject is a medal struck on Lord Shaftesbury's escape from a prosecution, by the ignoramus of a grand jury of Londoners.

In both poems he maintains the same principles, and saw them both attacked by the same antagonist. Elkanah Settle, who had answered "Absalom," appeared with equal courage in opposition to "The Medal;" and published an answer called "The Medal reversed," with so much success in both encounters, that he left the palm doubtful, and divided the suffrages of the nation. Such are the revolutions of fame, or such is the prevalence of fashion, that the man, whose works have not yet been thought to deserve the care of collecting them, who died forgotten in a hospital, and whose latter years were spent in contriving shows for fairs, and carrying an elegy or epithalamium, of which the beginning and end were occasionally varied, but the intermediate parts were always the same, to every house where there was a funeral or a wedding, might with truth have had inscribed upon his stone,

Here lies the Rival and Antagonist of Dryden.

Settle was, for his rebellion, severely chastised by Dryden, under the name of "Doeg," in the second part of" Absalom and Achitophel;" and was, perhaps, for his factious audacity

made the city poet, whose annual office was to describe the glories of the Mayor's day. Of these bards he was the last, and seems not much to have deserved even this degree of regard, if it was paid to his political opinions: for he afterwards wrote a panegyric on the virtues of Judge Jefferies; and what more could have been done by the meanest zealot for prerogative?

Of translated fragments, or occasional poems, to enumerate the titles, or settle the dates, would be tedious, with little use. It may be observed, that, as Dryden's genius was commonly excited by some personal regard, he rarely writes upon a general topic.

Soon after the accession of King James, when the design of reconciling the nation to the church of Rome became apparent, and the religion of the court gave the only efficacious title to its favours, Dryden declared himself a convert to popery. This at any other time might have passed with little censure. Sir Kenelm Digby embraced popery; the two Reynolds's reciprocally converted one another; and Chillingworth himself was awhile so entangled in the wilds of controversy, as to retire for quiet to an infallible church. If men of argument and study can find such difficulties, or such motives, as may either unite them to the church of Rome, or detain them in uncertainty, there can be no wonder that a man, who perhaps never inquired why he was a protestant, should by an artful and experienced disputant be made a papist, overborn by the sudden violence of new and unexpected arguments, or deceived by a representation which shews only the doubts on one part, and only the evidence on the other.

That conversion will always be suspected that apparently concurs with interest. He that never finds his error till it hinders his progress towards wealth or honour, will not be thought to love truth only for herself. Yet it may easily happen, that information may come at a commodious time; and, as truth and interest are not by any fatal necessity at variance, that one may by accident introduce the other. When opinions are struggling into popularity, the arguments by which they are opposed or defended become more known; and he that changes his profession would perhaps have changed it before, with the like opportunities of instruction. This was the then state of popery; every artifice was used to shew it in its fairest

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