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 muttonchop 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,—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 had brought into fashion. But his language and his versification were already far superior to theirs.
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 anything. 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? 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 the gold, or the temper of the ladies. But these adjectives are mere customary additions. They merge in the substantives to which they are attached. If they at all colour the idea, it is with a tinge so slight 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 us, not a likeness, but a strong caricature, in which a single peculiarity is protruded, and everything else neglected; like the Marquis of Granby at an inn-door, 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 Smollett 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 the 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 is unredeemed by any quality of a different description,—by any touch of kindness,—or even by any 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 society of Milton's devils. But as soon as we enter the regions of Tragedy, we find a great change. There is no lack of 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 a purely disinterested 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 Aurengzebe, 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,
I'll use it; for I need just such a friend."
This
