Part 44

DRYBURGH ABBEY, a monastic ruin in the extreme south-west of Berwickshire, Scotland, about 5 m. S.E. of Melrose, and 1¼ m. E. of St Boswells station on the North British railway's Waverley route from Edinburgh to Carlisle. The name has been derived from the Gaelic _darach bruach_, "oak bank," in allusion to the fact that the Druids once practised their rites here. The abbey occupies the spot where, about 522, St Modan, an Irish Culdee, established a sanctuary--a secluded position on a tongue of land washed on three sides by the Tweed. Founded in 1150 by David I.--though it has also been ascribed to Hugh de Morville (d. 1162), lord of Lauderdale and constable of Scotland--it enjoyed great prosperity until 1322, when it was partially destroyed by the English under Edward II. It suffered again at the hands of Richard II. in 1385, and was reduced to ruin during the expedition of the earl of Hertford in 1545. After the Reformation the estate was erected into a temporal lordship and given (1604) by James VI. to John Erskine, 2nd earl of Mar. At a later date it was sold, but reverted to a branch of the Erskines in 1786, when it was acquired by the 11th earl of Buchan. In 1700 the abbey lands belonged to Thomas Haliburton, Scott's great-grandfather, and, but for an extravagant grand-uncle who became bankrupt and had to part with the property, they would have descended to Sir Walter by inheritance. "We have nothing left of Dryburgh," he said, "but the right of stretching our bones there." The style in general is Early English, but the west door and the restored entrance from the nave to the cloisters are fine examples of transitional Norman. Though in various stages of decay, nearly every one of the monastic buildings is represented by a fragment. Of the cruciform church--190 ft. long by 75 broad at the transepts--there remain some of the outer walls, a segment of the choir, the east aisle of the north transept, the stumps of some of the pillars of the nave, the west gable, the south transept and its adjacent chapel of St Modan. The most beautiful of these relics is St Mary's aisle of the north transept, in which were buried Sir Walter Scott (1832), his wife, son, his son-in-law John Gibson Lockhart, and his ancestors, the Haliburtons of New Mains. Sir Walter's tomb is a plain block of polished Peterhead granite, inscribed only with his name and the dates of his birth and death. The next aisle is the burial-place of the Erskines of Shielhill and the Haigs of Bemersyde. On the south side of the church, at a lower level, stand the cloisters, about 100 ft. square, bounded on the west by the dungeons, on the south-west by the cellars and refectory, in the west wall of which is an exquisite ivy-clad rose window, and on the east by the chapter-house, on a still lower level. The chapter-house, a lofty building with vaulted roof, is the most complete structure of the group, and adjoining it on the south are, first the abbot's parlour and then the library, the three apartments communicating with each other, and constituting the oldest portion of the abbey. In the grounds are many venerable trees, a yew near the chapter-house being at least coeval with the abbey.

DRYDEN, JOHN (1631-1700), English poet, born on or about the 9th of August 1631, at Aldwinkle, in Northamptonshire, was of Cumberland stock, though his family had been settled for three generations in Northamptonshire, had acquired estates and a baronetcy, and intermarried with landed families in that county. His great-grandfather, who first carried the name south, and acquired by marriage the estate of Canons Ashby, is said to have known Erasmus, and to have been so proud of the great scholar's friendship that he gave the name of Erasmus to his eldest son. The name Erasmus was borne by the poet's father, the third son of Sir Erasmus Dryden. The leanings and connexions of the family were Puritan and anti-monarchical. Sir Erasmus Dryden went to prison rather than pay loan money to Charles I.; the poet's uncle, Sir John Dryden, and his father Erasmus, served on government commissions during the Commonwealth. His mother's family, the Pickerings, were still more prominent on the Puritan side. Sir Gilbert Pickering, his cousin, was chamberlain to the Protector, and was summoned to Cromwell's House of Lords in 1657. A trustworthy tradition asserts that John Dryden was born at the rectory of Aldwinkle All Saints, of which his maternal grandfather, Henry Pickering, was rector.

Dryden's education was such as became a scion of these respectable families of squires and rectors, among whom the chance contact with Erasmus had left a certain tradition of scholarship. His father, whose own fortune, added to his wife's, was not large, procured for the poet, who was the eldest of fourteen children, admission to Westminster school as a king's scholar, under the famous Dr Busby. Some elegiac verses which Dryden wrote there on the death of a schoolfellow, Henry, Lord Hastings, son of the earl of Huntingdon, in 1649, were published in _Lacrymae Musarum_, among other elegies by "divers persons of nobility and worth" in commemoration of the same event. He appeared soon after again in print, among writers of commendatory verses to a friend of his, John Hoddesdon, who published a volume of _Epigrams_ in 1650. Dryden's contribution is signed "John Dryden of Trinity C.," as he had gone up from Westminster to Cambridge in May 1650. He was elected a scholar of Trinity on the Westminster foundation in October of the same year, and took his degree of B.A. in 1654. The only recorded incident of his college residence is some unexplained act of disobedience to the vice-master, for which he was "put out of commons" and "gated" for a fortnight. His father died in 1654, leaving him master of two-thirds of a small estate near Blakesley, worth about £60 a year. The next three years he is said to have spent at Cambridge. In any case they were spent somewhere in study; for his first considerable poem bears indisputable marks of scholarly habits, as well as of a command of verse that could not have been acquired without practice.

The middle of 1657 is given as the date of his leaving the university to take up his residence in London. In one of his many subsequent literary quarrels, it was said by Shadwell that he had been clerk to Sir Gilbert Pickering, his cousin, who was chamberlain to Cromwell; and nothing is more likely than that he obtained some employment under his powerful cousin when he came to London. He is said to have lived at first in the house of his first publisher, Herringman, with whom he was connected till 1679, when Jacob Tonson began to publish his books. He first emerged from obscurity with his _Heroic Stanzas_ (1659) to the memory of the Protector. That these stanzas should have made him a name as a poet does not appear surprising when we compare them with Waller's verses on the same occasion. Dryden took some time to consider them, and it was impossible that they should not give an impression of his intellectual strength. Donne was his model; it is obvious that both his ear and his imagination were saturated with Donne's elegiac strains when he wrote; yet when we look beneath the surface we find unmistakable traces that the pupil was not without decided theories that ran counter to the practice of the master. It is plainly not by accident that each stanza contains one clear-cut brilliant point. The poem is an academic exercise, and it seems to be animated by an under-current of strong contumacious protest against the irregularities tolerated by the authorities. Dryden had studied the ancient classics for himself, and their method of uniformity and elaborate finish commended itself to his robust and orderly mind. In itself the poem is a magnificent tribute to the memory of Cromwell.

To those who regard the poet as a seer with a sacred mission, and refuse the name altogether to a literary manufacturer to order, it comes with a certain shock to find Dryden, the hereditary Puritan, the panegyrist of Cromwell, hailing the return of King Charles in _Astraea Redux_ (1660), deploring his long absence, and proclaiming the despair with which he had seen "the rebel thrive, the loyal crost." _A Panegyric on the Coronation_ followed in 1661. From a literary point of view also, _Astraea Redux_ is inferior to the _Heroic Stanzas_.

Dryden was compelled to supplement his slender income by his writings. He naturally first thought of tragedy,--his own genius, as he has informed us, inclining him rather to that species of composition; and in the first year of the Restoration he wrote a tragedy on the fate of Henry, duke of Guise. But some friends advised him that its construction was not suited to the requirements of the stage, so he put it aside, and used only one scene of the original play later on, when he again attempted the subject with a more practised hand. Having failed to write a suitable tragedy, he next turned his attention to comedy, although, as he admitted, he had little natural turn for it. "I confess," he said, in a short essay in his own defence, printed before _The Indian Emperor_, "my chief endeavours are to delight the age in which I live. If the humour of this be for low comedy, small accidents and raillery, I will force my genius to obey it, though with more reputation I could write in verse. I know I am not so fitted by nature to write comedy; I want that gaiety of humour which is required to it. My conversation is slow and dull; my humour saturnine and reserved; in short, I am none of those who endeavour to break jests in company or make repartees. So that those who decry my comedies do me no injury, except it be in point of profit; reputation in them is the last thing to which I shall pretend." He was really as well as ostentatiously a playwright; the age demanded comedies, and he endeavoured to supply the kind of comedy that the age demanded. His first attempt was unsuccessful. Bustle, intrigue and coarsely humorous dialogue seemed to him to be part of the popular demand; and, looking about for a plot, he found something to suit him in a Spanish source, and wrote _The Wild Gallant_. The play was acted in February 1663, by Thomas Killigrew's company in Vere Street. It was not a success, and Pepys showed good judgment in pronouncing the play "so poor a thing as ever I saw in my life." Dryden never learned moderation in his humour; there is a student's clumsiness and extravagance in his indecency; the plays of Etheredge, a man of the world, have not the uncouth riotousness of Dryden's. Of this he seems to have been conscious, for when the play was revived, in 1667, he complained in the epilogue of the difficulty of comic wit, and admitted the right of a common audience to judge of the wit's success. Dryden, indeed, took a lesson from the failure of _The Wild Gallant_; his next comedy, _The Rival Ladies_, also founded on a Spanish plot, produced before the end of 1663, and printed in the next year, was correctly described by Pepys as "a very innocent and most pretty witty play," though there was much in it which the taste of our time would consider indelicate. But he never quite conquered his tendency to extravagance. _The Wild Gallant_ was not the only victim. _The Assignation, or Love in a Nunnery_, produced in 1673, shared the same fate; and even as late as 1680, when he had had twenty years' experience to guide him, _The Kind Keeper, or Mr Limberham_ was prohibited, after three representations, as being too indecent for the stage. Dislike to indecency we are apt to think a somewhat ludicrous pretext to be made by Restoration playgoers, and probably there was some other reason for the sacrifice of _Limberham_; still there is a certain savageness in the spirit of Dryden's indecency which we do not find in his most licentious contemporaries. The undisciplined force of the man carried him to an excess from which more dexterous writers held back.

After the production of _The Rival Ladies_ in 1663, Dryden assisted Sir Robert Howard in the composition of a tragedy in heroic verse, _The Indian Queen_, produced with great splendour in January 1664. He married Lady Elizabeth Howard, Sir Robert's sister and daughter of the 1st earl of Berkshire, on the 1st of December 1663. Lady Elizabeth's reputation was somewhat compromised before this union, which was not a happy one, and there is some evidence for the scandal in a letter written by her before her marriage to Philip, 2nd earl of Chesterfield. _The Indian Queen_ was a great success, one of the greatest since the reopening of the theatres. This was in all likelihood due much less to the heroic verse and the exclusion of comic scenes from the tragedy than to the magnificent scenic accessories--the battles and sacrifices on the stage, the spirits singing in the air, and the god of dreams ascending through a trap. The novelty of these Indian spectacles, as well as of the Indian characters, with the splendid Queen Zempoalla, acted by Mrs Marshall in a real Indian dress of feathers presented to her by Mrs Aphra Behn, as the centre of the play, was the chief secret of the success of _The Indian Queen_. These melodramatic properties were so marked a novelty that they could not fail to draw the town. Dryden was tempted to return to tragedy; he followed up _The Indian Queen_ with _The Indian Emperor, or the Conquest of Mexico by the Spaniards_, which was acted in 1665, and also proved a success.

But Dryden was not content with writing tragedies in rhymed verse. He took up the question of the propriety of rhyme in serious plays immediately after the success of _The Indian Queen_, in the preface to an edition (1664) of _The Rival Ladies_. In that first statement of his case, he considered the chief objection to the use of rhyme, and urged his chief argument in its favour. Rhyme was not natural, some people had said; to which he answers that it is as natural as blank verse, and that much of its unnaturalness is not the fault of the rhyme but of the writer, who has not sufficient command of language to rhyme easily. In favour of rhyme he has to say that it at once stimulates the imagination, and prevents it from being too discursive in its flights.

During the Great Plague, when the theatres were closed, and Dryden was living at Charlton, Wiltshire, at the seat of his father-in-law, the earl of Berkshire, he occupied a considerable part of his time in thinking over the principles of dramatic composition, and threw his conclusions into the form of a dialogue, which he called an _Essay of Dramatick Poesie_ and published in 1668. The essay takes the form of a dialogue between Neander (Dryden), Eugenius (Charles, Lord Buckhurst, afterwards earl of Dorset), Crites (Sir R. Howard), and Lisideius (Sir C. Sedley), who is made responsible for the famous definition of a play as a "just and lively image of human nature, representing its passions and humours, and the changes of fortune to which it is subject, for the delight and instruction of mankind." Dryden's form is of course borrowed from the ancients, and his main source is the critical work of Corneille in the prefaces and discourses contained in the edition of 1660, but he was well acquainted with the whole body of contemporary French and Spanish criticism. Crites maintains the superiority of the classical drama; Lisideius supports the exacting rules of French dramatic writing; Neander defends the English drama of the preceding generations, including, in a long speech, an examination of Ben Jonson's _Silent Woman_. Neander argues, however, that English drama has much to gain by the observance of exact methods of construction without abandoning entirely the liberty which English writers had always claimed. He then goes on to defend the use of rhyme in serious drama. Howard had argued against the use of rhyme in a "preface" to _Four New Plays_ (1665), which had furnished the excuse for Dryden's essay. Howard replied to Dryden's essay in a preface to _The Duke of Lerma_ (1668). Dryden at once replied in a masterpiece of sarcastic retort and vigorous reasoning, _A Defence of an Essay of Dramatique Poesie_, prefixed to the second edition (1668) of _The Indian Emperor_. It is the ablest and most complete statement of his views about the employment of rhymed couplets in tragedy.

Before his return to town at the end of 1666, when the theatres (which had been closed during the disasters of 1665 and 1666) were reopened, Dryden wrote a poem on the Dutch war and the Great Fire entitled _Annus Mirabilis_. The poem is in quatrains, the metre of his _Heroic Stanzas_ in praise of Cromwell, which Dryden chose, he tells us, "because he had ever judged it more noble and of greater dignity both for the sound and number than any other verse in use amongst us." The preface to the poem contains an interesting discussion of what he calls "wit-writing," introduced by the remark that "the composition of all poems is or ought to be of wit." His description of the Great Fire is a famous specimen of this wit-writing, much more careless and daring, and much more difficult to sympathize with, than the graver conceits in his panegyric of the Protector. In _Annus Mirabilis_ the poet apostrophizes the newly founded Royal Society, of which he had been elected a member in 1662.

From the reopening of the theatres in 1666 till November 1681, the date of his _Absalom and Achitophel_, Dryden produced nothing but plays. The stage was his chief source of income. _Secret Love, or the Maiden Queen_, a tragi-comedy, produced in March 1667, was based on an episode in the _Artamène, ou le Grand Cyrus_ of Mlle de Scudéry, the historical original of the "Maiden Queen" being Christina, queen of Sweden. The prologue claims that the piece is written with pains and thought, by the exactest rules, with strict observance of the unities, and "a mingled chime of Jonson's humour and of Corneille's rhyme"; but it owed its success chiefly to the charm of Nell Gwyn's acting in the part of Florimel. It is noticeable that only the more passionate parts of the dialogue are rhymed, Dryden's theory apparently being that rhyme is then demanded for the elevation of the style. His next play, _Sir Martin Mar-all, or the Feigned Innocence_, an adaptation in prose of the duke of Newcastle's translation of Molière's _L'Étourdi_, was produced at the Duke's theatre, without the author's name, in 1667. It was about this time that Dryden became a retained writer under contract for the King's theatre, receiving from it £300 or £400 a year, till it was burnt down in 1672, and about £200 for six years more till the beginning of 1678. His co-operation with Davenant in a new version (1667) of Shakespeare's _Tempest_--for his share in which Dryden can hardly be pardoned on the ground that the chief alterations were happy thoughts of Davenant's, seeing that he affirms he never worked at anything with more delight--must also be supposed to be anterior to the completion of his contract with the Theatre Royal. He was engaged to write three plays a year, and he contributed only ten plays during the ten years of his engagement, finally exhausting the patience of his partners by joining in the composition of a play for the rival house. In adapting _L'Étourdi_, Dryden did not catch Molière's lightness of touch; his alterations go towards making the comedy into a farce. Perhaps all the more on this account _Sir Martin Mar-all_ had a great run at the theatre in Lincoln's Inn Fields. There is always a certain coarseness in Dryden's humour, apart from the coarseness of his age,--a certain forcible roughness of touch which belongs to the character of the man. His _An Evening's Love, or the Mock Astrologer_, an adaptation from _Le Feint Astrologue_ of the younger Corneille, produced at the King's theatre in 1668, seemed to Pepys "very smutty, and nothing so good as _The Maiden Queen_ or _The Indian Emperor_ of Dryden's making." Evelyn thought it foolish and profane, and was grieved "to see how the stage was degenerated and polluted by the licentious times." _Ladies à la Mode_, another of Dryden's contract comedies, produced in 1668, was "so mean a thing," Pepys says, that it was only once acted, and Dryden never published it. Of his other comedies, _Marriage à la Mode_ (produced 1672), _The Assignation, or Love in a Nunnery_ (1673), _The Kind Keeper, or Mr Limberham_ (1678), only the first was moderately successful.