the age is praised.
Wit's now arrived to a more high degree;
Our native language more refined and free;
Our ladies and our men now speak more wit,
In conversation, than those poets writ.
Then, one of these is, consequently, true;
That what this poet writes comes short of you,
And imitates you ill (which most he fears,)
Or else his writing is not worse than theirs.
Yet, though you judge (as sure the critics will)
That some before him writ with greater skill,
In this one praise he has their fame surpast,
To please an age more gallant than the last."
Dryden was called over the coals for this sacrilegious Epilogue by persons ill qualified for censors — among others, by my Lord Rochester — and was instantly ready with his defence — an "Essay on the Dramatic Poetry of the Last Age." In it he repeats the senseless assertion, "that the language, wit, and conversation of our age are improved and refined above the last;" and he takes care to include among the writers of the last age, Shakspeare, Fletcher, and Jonson. "In what," he asks "does the refinement of a language principally consist?"
"Either in rejecting such old words or phrases which are ill sounding or improper, or in admitting new, which are more proper, more sounding, and more luxuriant. * * * Malice and partiality set apart, let any man who understands English, read diligently the works of Shakspeare and Fletcher, and I dare undertake that he will find in every page either some solecism of speech, or some notorious flaw in sense; yet these men are reverenced, when we are not forgiven. That their wit is great, and many times their expressions noble, envy itself cannot deny. But the times were ignorant in which they lived. Poetry was then, if not in its infancy among us, at least not arrived to its vigour and maturity. Witness the lameness of their plots, many of which, especially those they writ first, (for even that age refined itself in some measure,) were made up of some ridiculous, incoherent story, which in one play many times took up the business of an age. I suppose I need not name 'Pericles, Prince of Tyre,' nor the historical plays of Shakspeare, besides many of the rest, as the 'Winter's Tale,' 'Love's Labour Lost,' 'Measure for Measure,' which were either founded on impossibilities, or at least so meanly written, that the comedy neither caused your mirth, nor the serious part your concernment."
In all this this rash and wretched folly, Dryden shows his ignorance of the order in which Shakspeare wrote his plays; and Sir Walter kindly says, that there will be charity in believing that he was not intimately acquainted with those he so summarily and unjustly condemns. But unluckily this nonsense was written during the very time he was said by Sir Walter to have been "engaged in a closer and more critical examination of the ancient English poets than he had before bestowed upon them;" and, from the perusal of Shakspeare, learning that the sole staple of the drama was "human characters acting from the direct and energetic influence of human passions." Yet Sir Walter was right; only Dryden's opinions and judgments kept fluctuating all his life long, too much obedient to the gusts of whim and caprice, or oftener still to the irregular influences of an impatient spirit, that could not brook any opposition from any quarter to its domineering self-will. For in not many months after, in the Prologue to "Aurengzebe," are these noble lines —
"But spite of all his pride, a secret shame
Invades his heart at Shakspeare's sacred name;
Awed when he hears his godlike Romans rage,
He, in a just despair, would quit the stage,
And to an age less polish'd, more unskill'd,
Does, with disdain, the foremost honours yield."
Less polished — more unskilled! Here, too, he is possessed with the same foolish fancy as when he said, in the "Defence of the Epilogue," — "But these absurdities which those poets committed, may more properly be called the age's fault than theirs. For besides the want of education and learning, (which was their particular unhappiness,) they wanted the benefit of converse. Their audiences were no better, and therefore were satisfied with what they brought. Those who call theirs the golden age of poetry, have only this reason for it, that they were then content with acorns before they knew the use of bread!" Then, after a somewhat hasty and unconvincing examination of certain incorrectnesses and meannesses of expression even in Ben Jonson, learned as he was, he asks, "What correctness after this can be expected from Shakspeare or Fletcher, who wanted that learning and care which Jonson had? I will therefore spare myself the trouble of enquiring into their faults, who, had they lived now, had doubtless written more correctly." Since Shakspeare's days, too, the English language had been refined, he says, by receiving new words and phrases, and becoming the richer for them, as it would be "by importation of bullion." It is admitted, however, that Shakspeare, Fletcher, and Jonson did indeed beautify our tongue by their curiosa felicitas in the use of old words, to which it often gave a rare meaning; but in that they were followed by "Sir John Suckling and Mr Waller, who refined upon them!" But the greatest improvement and refinement of all, "in this age," is said to have been in wit. Pure wit, and without alloy, was the wit of the court of Charles the Second, and of the Clubs. It shines like gold, yea much fine gold, in the works of all the master play-wrights. Whereas, "Shakspeare, who many times has written better than any poet in any language, is yet so far from writing wit always, or expressing that wit according to the dignity of the subject, that he writes, in many places, below the dullest writers of ours, or any preceding age. Never did any author precipitate himself from such height of thought to so low expressions, as he often does. He is the very Janus of poets; he wears almost every where two faces; and you have scarce begun to admire the one ere you despise the other." That the wit "of this age" is much more courtly, may, Dryden thinks, be easily proved by viewing the characters of gentlemen which were written in the last. For example — who do you think? Why, Mercutio. "Shakspeare showed the best of his skill in Mercutio; and he said himself that he was forced to kill him in the third act, to prevent being killed by him. But for my part I cannot find he was so dangerous a person: I see nothing in him but what was so exceedingly harmless, that he might have lived to the end of the play and died in his bed, without offence to any man." Wit Shakspeare had in common with his ingenious contemporaries; but theirs, to speak out plainly, "was not that of gentlemen; there was ever somewhat that was ill-natured and clownish in it, and which confessed the conversation of the authors." "In this age," Dryden declares the last and greatest advantage of writing proceeds from conversation. "In that age" there was "less gallantry;" and "neither did they (Shakspeare, Ben, and the rest) keep the best company of theirs." But let the illustrious time-server speak at large.
"Now, if they ask me, whence it is that our conversation is so much refined? I must freely, and without flattery, ascribe it to the court; and in it, particularly to the king, whose example gives a law to it. His own misfortunes, and the nation's, afforded him an opportunity, which is rarely allowed to sovereign princes — I mean of travelling, and being conversant in the most polished courts of Europe; and, thereby, of cultivating a spirit which was formed by nature to receive the impressions of a gallant and generous education. At his return, he found a nation lost as much in barbarism as in rebellion; and, as the excellency of his nature forgave the one, so the excellency of his manners reformed the other. The desire of imitating so great a pattern, first awakened the dull and heavy spirits of the English from their natural reservedness; loosened them from their stiff forms of conversation, and made them easy and pliant to each other in discourse. Thus, insensibly, our way of living became more free; and the fire of the English wit, which was before stifled under a constrained, melancholy way of breeding, began first to display its force by mixing the solidity of our nation with the air and gaiety of our neighbours. This being granted to be true, it would be a wonder if the poets, whose work
