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whole extent of its beauty and power. The respect which the translators felt for the original prevented them from adding any of the hideous decorations then in fashion. The groundwork of the version, indeed, was of an earlier age. The familiarity with which the Puritans, on almost every occasion, used the scriptural phrases, was no doubt very ridiculous; but it produced good effects... It was a cant; but it drove out a cant far more offensive. The highest kind of poetry is, in a great measure, independent of those circumstances which regulate the style of composition in prose. But with that inferior species of poetry which succeeds to it, the case is widely different. In a few years, the good sense and good taste which had weeded out affectation from moral and political treatises would, in the natural course of things, have effected a simila" reform in the sonnet and the ode. The rigour of the victorious sectaries had relaxed. A dominant religion is never ascetic. The government connived at theatrical representations. The influence of Shakspeare was once more felt. But darker days were approaching. A foreign yoke was to be imposed on our literature. Charles, surrounded by the companions of his long exile, returned to govern a nation which ought never to have cast him out, or never to have received him back. Every year which he had passed among strangers had rendered him more unfit to rule his countrymen. In France he had seen the refractory magistracy humbled, and royal prerogative though exercised by a foreign priest in the name of a child, victorious over as opposition. This spectacle naturally gratified a prince to whose family the opposition of parliaments had been so fatal. Politeness was his solitary good quality. The insults which he had susfered in Scotland had taught him to prize it. The effeminacy and apathy of his disposition fitted him to excel in it. The elegance and vivacity of the French manners fascinated him. With the political maxims and the social habits of his favourite people, he adopted their taste in composition; and, when seated on the throne, soon rendered it fashionable, partly by direct patronage, but still more by that contemptible policy which, for a time, made England the last of the nations, and raised Louis the Fourteenth to a height of power and fame, such as no French sovereign had ever before attained. It was to please Charles that rhyme was first introduced into our plays. Thus, a rising blow, which would at any time have been mortal, was dealt to the English drama, then just recovering from its languishing condition. Two detestable manners, the indigenous and the imported, were now in a state of alternate conflict and amalgamation. The bombastic meanness of the new style was blended with the ingenious absurdity of the old; and the mixture produced something which the world had never before seen, and which, we hope, it will never see again—something, by the side of which the worst nonsense of all other ages *appears to advantage—something, which those who have attempted to caricature it, have,

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From this reproach some clever men of the world must be expected, and among them Dorset himself. Though by no means great poets, or even good versifiers, they always wrote with meaning, and sometimes with wit. Nothing indeed more strongly shows to what a miserable state literature had fallen, than the immense superiority which the occasional rhymes, carelessly thrown on paper by men of this class, possess over the elaborate productions of afmost all the professed authors. The reigning taste was so bad, that the success of a writer was in inverse proportion to his labour, and to his desire of excellence. An exception must be made for Butler, who had as much wit and learning as Cowley, and who knew, what Cowley never knew, how to use them. A great command of good homely English distinguishes him still-more from the other writers of the time. As for Gondibert, those may criticise it who can read it. Imagination was extinct. Taste was depraved. Poetry, driven from palaces, colleges, and theatres, had found an asylum in the obscure dwelling, where a great man, born out of due season, in disgrace, penury, pain, and blind hess, still kept uncontaminated a character and a genius worthy of a better age.

Every thing about Milton is wonderful; but nothing is so wonderful as that, in an age so unfavourable to poetry, he should have pro duced the greatest of modern epic poems We are not sure that this is not in some de gree to be attributed to his want of sight. The imagination is notoriously most active when the external world is shut out. In sleep its illusions are perfect. They produce all the effect of realities. In darkness its visions are always more distinct than in the light. Every person who amuses himself with what is called building castles in the air, must have experienced this. We know artists, who, before they attempt to draw a face from memory, close their eyes, that they may recall-a more perfect image of the features and the expression. We are therefore inclined to believe, that the genius of Milton may have been preserved from the influence of times so unsavourable to it, by his infirmity. Be this as it may, his works at first enjoyed a very small share of popularity. To be neglected by his contemporaries was the o which he paid for surpassing them. is great poem was not generally studied or admired, till writers far inferior to him had, by r bsequiously cringing to the public taste, acquired sufficient fa. vour to reform it.

of these Dryden was the most eminent Amidst the crowd of authors, who, during the earlier years of Charles the Second, courted notoriety by every species of absurdity and affectation, he speedily became conspicuous the age exercise so much influence. He was perhaps the greatest of those whom we have designated as the critical poets; and his literary career exhibited, on a reduced scale, the whole history of the school to which he belonged, the rudeness and extravagance of its infancy, the propriety, the grace, the dignified good sense, the temperate splendour of its maturity. His imagination was torpid, till it was awakened by his judgment. He began with quaint parallels and empty mouthing. He gradually acquired the energy of the satirist, the gravity of the moralist, the rapture of the lyric poet. The revolution through which English literature has been passing, from the time of Cowley to that of Scott, may be seen in miniature within the compass of his volumes. His life divides itself into two parts. There is some debatable ground on the common frontier; but the line may be drawn with tolerable accuracy. The year 1678 is that on which we should be inclined to fix as the date of a great change in his manner. During the preceding period appeared some of his courtly panegyrics—his Annus Mirabilis, and most of his plays; indeed, all his rhyming tragedies. To the subsequent period belong his best dramas—All for Love," The Spanish Friar, and Sebastian—his satires, his translations, his didactic poems, his fables, and his odes. Of the small pieces which were presented to chancellors and princes, it would scarcely be fair to speak. The greatest advantage which the fine arts derive from the extension of knowledge is, that the patronage of individuals becomes unnecessary. Some writers still affect to regret the age of patronage. None but bad writers have reason to regret it. It is always an age of general ignorance. Where ten thousand readers are eager for the appearance of a book, a small contribution from each makes up a splendid remuneration for the author. Where literature is a luxury, confined to few, each of them must pay high. If the Empress Catherine, for example, wanted an epic poem, she must have wholly supported the poet:-just as, in a remote country village. a man who wants a mutton-chop is sometimes forced to take the whole sheep:—a thing which never happens where the demand is large. But men who pay largely for the gratification of their taste, will expect to have it united with some gratification to their vanity. Flattery is carried to a shameless extent; and the habit of flattery almost inevitably introduces a false taste into composition. Its language is made up of hyperbolical commonplaces— offensive from their triteness—and still more offensive from their extravagance. In no school is the trick of overstepping the modesty of nature so speedily acquired. The writer, accustomed to find exaggeration acceptable and necessary on one subject, uses it on all. It is not strange, therefore, that the early panegyrical verses of Dryden should be made up of meanness and bombast. They abound with the conceits which his immediate predecessors

No man exercised so much influence on the and his versification were already far supeage. The reason is obvious. On no man did rior to theirs.

had brought into fashion. But his

The Annus Mirabilis shows great command of expression and a fine ear for heroic rhyme. Here its merits end. Not 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. We will give a single instance, and certainly a favourable instance—a quatrain which Johnson has praised. Dryden is describing the sea-fight with the Dutch.

“Amidst whole heaps of spices lights a ball ;

And now their odours armed against them fly

Some preciously by shattered porcelain fall,

And some by aromatic splinters die.” The poet should place his readers, as nearly as possible, in the situation of the sufferers or the spectators. His narration ought to produce feelings similar to those which would be excited by the event itself. Is this the case here 1 Who, in a sea-fight, ever thought of the price of the china which beats out the brains of a sailor; or of the odour of the splinter which shatters his leg? It is not by an act of the imagination, at once calling up the scene before the interior eye, but by painful meditation -by turning the subject round and round-by tracing out facts into remote consequences, that these incongruous topics are introduced into the description. Homer, it is true, perpetually uses epithets which are not peculiarly appropriate. Achilles is the swift-footed, when he is sitting still. Ulysses is the much-enduring, when he has nothing to endure. Every spear casts a long shadow; every ox has crooked horns; and every woman a high bosom, though these particulars may be quite beside the purpose. In our old ballads a similar practice prevails. The gold is always red, and the ladies always gay, though nothing whatever may depend on the hue of gold, or the temper of the ladies. But these adjectives are mere customary additions. They merge in the sub stantives to which they are attached. If the: at all colour the idea, it is with a tinge so sligh as in no respect to alter the general effect. In the passage which we have quoted from Dryden, the case is very different. Preciously and aromatic divert our whole attention to themselves, and dissolve the image of the battle in a moment. The whole poem reminds us of Lucan, and of the worst parts of Lucan, the sea-fight in the bay of Marseilles, for example. The description of the two fleets during the night is perhaps the only passage which ought to be exempted from this censure. If it was from the Annus Mirabilis that Milton formed his opinion, when he pronounced Dryden a good rhymer, but no poet, he certainly judged correctly. But Dryden was, as we have said, one of those writers, in whom the period of imagination does not precede, but follow, the period of observation and reflection.

His plays, his rhyming plays in particular, are admirable subjects for those who wish to study the morbid anatomy of the drama. He was utterly destitute of the power of exhibiting real human beings. Even in the far inferior talent of composing characters out of those elements into which the imperfect process of our reason can resolve them, he was very deficient. His men are not even good personifications; they are not well-assorted assemblages of qualities. Now and then, indeed, he seizes a very coarse and marked distinction; and gives up, not a likeness, but a strong caricature, in which a single peculiarity is protruded, and every thing else neglected; like the Marquis of Granby at an inndoor, whom we know by nothing but his baldness; or Wilkes, who is Wilkes only in his squint. These are the best specimens of his skill. For most of his pictures seem, like Turkey carpets, to have been expressly designed not to resemble anything in the heavens above, in the earth beneath, or in the waters under the earth.

The latter manner he practises most frequently in his tragedies, the former in his comedies. The comic characters are, without mixture, loathsome and despicable. The men of Etherege and Vanbrugh are bad enough. Those of Smollet are perhaps worse. But they do not approach to the Celadons, the Wildbloods, the Woodalls, and the Rhodophils of Dryden. The vices of these last are set off by a certain fierce, hard impudence, to which we know nothing comparable. Their love is the appetite of beasts; their friendship the confederacy of knaves. The ladies seem to have been expressly created to form helps meet for such gentlemen. In deceiving and insulting their old fathers, they do not perhaps exceed the license which, by immemorial prescription, has been allowed to heroines. But they also cheat at cards, rob strong boxes, put up their favours to auction, betray their friends, abuse their rivals in a style of Billingsgate, and invite their lovers in the language of the Piazza. These, it must be remembered, are not the valets and waiting-women, the Mascarilles and Nerines, but the recognised heroes and heroines, who appear as the representatives of good society, and who, at the end of the fifth act, marry and live very happily ever after. The sensuality, baseness, and malice of their natures are unredeemed by any quality of a differrot description, by any touch of kindness, or even by an honest burst of hearty hatred and revenge. We are in a world where there is no humanity, no veracity, no sense of shame -a world for which any good-natured man would gladly take in exchange the socicty of Milton's devils. But as soon as we enter the regions of Tragedy, we find a great change. Then, is no lack of the fine sentiment there. Metastasio is surpassed in his own department. Scuderi is out-scuderied. We are introduced to people whose proceedings we can trace to no motive—of whose feelings we can form no more idea than of a sixth sense. We have left a race of creatures, whose love is as delicate and affectionate as the passion which an alderman feels for a turtle. We find ourselves among beings, whose love is purely disinte

rested emotion—a loyalty extending to passive obedience—a religion like that of the Quietists, unsupported by any sanction of hope or fear, We see nothing but despotism without power, and sacrifices without compensation. We will give a few instances:—In Aureng. zebe, Arimant, governor of Agra, falls in love with his prisoner Indamora. She rejects his suit with scorn; but assures him that she shall make great use of her power over him. He threatens to be angry. She answers, very coolly:

“Do not; your anger, like your love, is vain: Whene'er I please, you must be pleased again. Knowing what power I have your will to bend, l'il use it; for I need just such a friend.”

This is no idle menace. She soon brings a letter, addressed to his rival, orders him to read it, asks him whether he thinks it sufficiently tender, and finally commands him to carry it himself. Such tyranny as this, it may be thought, would justify resistance. Arimant does indeed venture to remonstrate:

*This fatal paper rather let me tear,
Than, like Bellerophon, my sentence bear.”

The answer of the lady is incomparable:

“You may; but 'twill not be your best advice;
'Twill only give me pains of writing twice.
You know you must obey me, soon or late.
Why should you vainly struggle with your fate?"

Poor Arimant.seems to be of the same opinion. He mutters something about fate and freewill, and walks off with the billet-doux.

In the Indian Emperor, Montezuma presents Almeria with a garland as a token of his love, and offers to make her his queen. She replies:

“I take this garland, not as given by you;
But as my merit's and my beauty's due
As for the crown which you... my slave, possess,
To share it with you would but inake me less.”

In return for such proofs of tenderness as these, her admirer consents to murder his two sons, and a benefactor, to whom he feels the warmest gratitude. Lyndaraxa, in the Conquest of Granada, assumes the same lofty tone with Abdelmelech. He complains that sha smiles upon his rival. “Lynd. And when did I my power so far resign, That you should regulate each look of mine? Then, when you gave your love, you gave that

"Twas during pleasure—"tis revoked this heur.
I'll hate you, and this visit is my last.
Do, if you can : you know I hold you fast."

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That these passages violate all historical propriety; that sentiments, to which nothing similar was ever even affected except by the cavaliers of Europe, are transferred to Mexico and Agra, is a light accusation. We have no objection to a conventional world, an Illyrian puritan, or a Bohemian seaport. While the faces are good, we care little about the background. Sir Joshua Reynolds says, that the curtains and hangings in an historical painting ought to be, not velvet or cotton, but merely drapery. The same principle should be anplied to poetry and romance. The truth of character is the first object; the truth of place and time is to be considered only in the second

place, Puff himself could tell the actor to turn

out his toes, and remind him that Keeper Hatton was a great dancer. We wish that, in our

own time, a writer of a very different order

from Puff had not too often forgotten human nature in the niceties of upholstery, millinery, and cookery. We blame Dryden, not because the persons of his dramas are not Moors or Americans, but because they are not men and women; not because love, such as he represents it, could not exist in a harem or in a wigwam, but because it could not exist anywhere. As is the love of his heroes, such are all their other emotions. All their qualities, their courage, their generosity, their pride, are on the same colossal scale. Justice and prudence are virtues which can exist only in a moderate degree, and which change their nature and their name if pushed to excess. Of justice and prudence, therefore, Dryden leaves his favourites destitute. He did not care to give them what he could not give without measure. The tyrants and ruffians are merely the heroes altered by a few touches, similar to those which transformed the honest face of Sir Roger de Coverley into the Saracen's head. Through the grin and frown, the original features are still perceptible. It is in the tragicomedies that these absurdities strike us most. The two races of men, or rather the angels and the baboons, are there presented to us together. We meet in one scene with nothing but gross, selfish, unblushing, lying libertines of both sexes, who, as a punishment, we suppose, for their depravity, are condemned to talk nothing but prose. But as soon as we meet with people who speak in verse, we know that we are in society which would have enraptured the Cathos and Madelon of Molière, in society for which Oroondates would have too little of the lover, Clelia too much of the coquette. As Dryden was unable to render his plays interesting by means of that which is the peculiar and appropriate excellence of the drama, it was necessary that he should find some substitute for it. In his comedies he supplied its place, sometimes by wit, but more frequently by intrigue, by disguises, mistakes of persons, dialogues at cross purposes, hairbreadth escapes, perplexing concealments, and surprising disclosures. He thus succeeded at least in making these pieces very amusing. In his tragedies he trusted, and not altogether without reason, to his diction and his versification. It was on this account, in all probability, that he so eagerly adopted, and so reluctantly abandoned, the practice of rhyming in his plays. What is unnatural appears less unnatural in that species of verse, than in lines which approach more nearly to common conversation; and in the management of the heroic couplet, Dryden has never been equalled. It is unnecessary to urge any arguments against a fashion now universally condemned. But it is worthy of observation, that though Dryden was deficient in that talent which blank verse exhibits to the greatest advantage, and was certainly the best writer of heroic rhyme in our language, yet the plays which have, from the time of their first appearance, been

considered as his best, are in blank verse. No

experiment can be more decisive. It must be allowed, that the worst even of the rhyming tragedies contains good description and magnificent rhetoric. But, even when we forget that they are plays, and, passing by their dramatic improprieties, consider them with reference to the hanguage, we are perpetnally disgusted by passages which it is difficult to conceive how any author could have written, or any audience have tolerated; rants in which the raving violence of the manner forms a strange contrast with the abject tameness of the thought. The author laid the whole sault on the audience, and declared, that when he wrote them, he considered them bad enough to please. This defence is unworthy of a man of genius, and, after all, is no defence. Otway pleased without rant; and so might Dryden have done, if he had possessed the powers of Otway. The fact is, that he had a tendency to bombast, which, though subsequently corrected by time and thought, was never wholly removed, and which showed itself in performances not designed to please the rude mob of the theatre. Some indulgent critics have represented this failing as an indication of genius, as the profusion of unlimited wealth, the wantonness of exuberant vigour. To us it seems to bear a nearer affinity to the tawdriness of poverty, or the spasms and convulsions of weakness. Dryden surely had not more imagination than Homer, Dante, or Milton, who never fall into this vice. The swelling diction of Æschylus and Isaiah resembles that of Almanzor and Maximin no more than the tumidity of a muscle resembles the tumidity of a boil. The former is symptomatic of health and strength, the latter of debility and disease. If ever Shakspeare rants, it is not when his imagination is hurrying him along, but when he is hurrying his imagination along—when his mind is for a moment jaded—when, as was said of Euripides, he resembles a lion, who excites his own fury by lashing himself with his tail. What happened to Shakspeare from the occasional suspension of his powers, happened to Dryden from constant impotence. He, like his confederate Lee, had judgment enough to appreciate the great poets of the preceding age, but not judgment enough to shun competition with them. He felt and admired their wild and daring sublimity. That it belonged to another age than that in which he fived, and required other talents than those which he possessed; that, in aspiring to emulate it, he was wasting, in a hopeless attempt, powers which might render him pre-eminent in a different career, was a lesson which he did not learn till late. As those knavish enthusiasts, the French prophets, courted inspiration, by mimicking the writhings, swoonings, and gaspings, which they considered as its symptoms,

he attempted, by affected fits of poetical fury,

to bring on a real paroxysm; and, like them, he got nothing but his distortions for his pains.

Horace very happily compares those who, in his time, imitated Pindar, to the youth who attempted to sly to heaven on waxen wings, and who experienced so fatal and ignominious a fall. His own admirable good sense preserved him from this error, and taught him to cultivate a style in which excellence was within his reach. Dryden had not the same self-knowledge. He saw that the greatest poets were never so successful as when they rushed beyond the ordinary bounds, and that some inexplicable good fortune preserved them from tripping even when they staggered on the brink of nonsense. He did not perceive that they were guided and sustained by a power denied to himself. They wrote from the dictation of the imagination, and they found a response in the imaginations of others. He, on the contrary, sat down to work himself, by reflection and argument, into a deliberate wildness, a rational frenzy.


In looking over the admirable designs which accompany the Faust, we have always been much struck by one which represents the wizard and the tempter riding at full speed. The demon sits on his furious horse as heedlessly as if he were reposing on a chair. That he should keep his saddle in such a posture, would seem impossible to any who did not know that he was secure in the privileges of a superhuman nature. The attitude of Faust, on the contrary, is the perfection of horsemanship. Poets of the first order might safely write as desperately as Mephistopheles rode. But Dryden, though admitted to communion with higher spirits, though armed with a portion of their power, and intrusted with some of their secrets, was of another race. What they might securely venture to do, it was madness in him to attempt. It was necessary that taste and critical science should supply its deficiencies.

We will give a few examples. Nothing can be finer than the description of Hector at the Grecian wall.

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What daring expressions! Yet how significant! How picturesque: , Hector seems to rise up in his strength and fury. The gloom of night in his frown—the fire burning in his eyes—the javelins and the blazing armour— the mighty rush through the gates and down the battlements—the trampling and the infinite roar of the multitude—everything is with us; every thing is real. Dryden has described a very similar event in Maximin; and has done his best to be sublime, as follows: “There with a forest of their darts he strove, And stood like Capaneus defying Jove; With his broad sword the boldest beating down, Till Fate grew pale, lest he should win the town, And turned the iron leaves of its dark book To make new dooms, or mend what it mistook.” How exquisite is the imagery of the fairysongs in the Tempest and the Midsummer Night's Dream; Ariel riding through the twilight on the bat, or sucking in the bells of

flowers with the bee: or the little bower-women of Titania, driving the spiders from the couch of the Queen! Dryden truly said, that

* Shakspeare's magic could not copied be; Within the circle none durst walk but he.”

It would have been well if he had not himself dared to step within the enchanted line, and drawn on himself a sate similar to that which, according to the old superstition, punished such presumptuous interferences. The following lines are parts of the song of his fairies:

“Merry, merry, merry, we sail from the East,
Half-tippled at a rainbow feast.
In the bright moonshine, while winds whistle loud,
Tivy, tivy, tivy, we mount and we fly,
All racking along in a downy white cloud;
And lest our leap from the sky prove too far,
We slide on the back of a new falling star,
And drop from above
In a jelly of love.”

These are very favourable instances. Those who wish for a bad one may read the dying speeches of Maximin, and may compare them with the last scenes of Othello and Lear. If Dryden had died before the expiration of the first of the periods into which we have divided his literary life, he would have left a reputation, at best, little higher than that of Lee or Davenant. He would have been known only to men of letters; and by them he would have been mentioned as a writer who threw away, on subjects which he was incompetent to treat, powers which, judiciously employed, might have raised him to eminence; whose diction and whose numbers had sometimes very high merit, but all whose works were blemished by a false taste and by errors of gross negligence. A few of his prologues and epilogues might perhaps still have been remembered and quoted. In these little pieces, he early showed all the powers which afterwards rendered him the greatest of modern satirists. But during the latter part of his life, he gradually abandoned the drama. His plays appeared at longer intervals. He renounced rhyme in tragedy. His language became less turgid, his characters less exaggerated. He did not indeed produce correct representations of human nature; but he ceased to daub such monstrous chimeras as those which abound in his earlier pieces. Here and there passages occur worthy of the best ages of the British stage. The style which the drama requires changes with every change of character and situation. He who can vary his manner to suit the variation is the great dramatist; but he who excels in one manner only, will, when that manner happens to be appropriate, appear to be a great dramatist; as the hands of a watch, which does not go, point right once in the twelve hours. Sometimes there is a scene of solemn debate. This a mere rhetorician may write as well as the greatest tragedian that ever lived. We confess that to us the speech of Sempronius in Cato seems very nearly as good as Shakspeare could have made it. But when the senate breaks up, and we find that the lovers and their mistresses, the hero, the villain, and the deputy villain, all continue to harangue in the same style, we perceive the difference between a mal. who can write a play and a man rhu can

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