Part 11

And first we may observe, that the difference in their situations affected their habits of thinking upon poetical subjects. Milton had retired into solitude, if not into obscurity, relieved from everything like external agency either influencing his choice of a subject, or his mode of treating it; and in consequence, instead of looking abroad to consult the opinion of his age, he appealed only to the judge which heaven had implanted within him, when he was endowed with severity of judgment, and profusion of genius. But the taste of Dryden was not so independent. Placed by his very office at the head of what was fashionable in literature, he had to write for those around him, rather than for posterity; was to support a brilliant reputation in the eye of the world; and is frequently found boasting of his intimacy with those who led the taste of the age, and frequently quoting the

"_tamen me Cum magnis vixisse, invita falebitur usque Invidia._"

It followed, that Dryden could not struggle against the tide into which he was launched, and that, although it might be expected from his talents that he should ameliorate the reigning taste, or at least carry those compositions which it approved to their utmost pitch of perfection, it could not be hoped that he should altogether escape being perverted by it, or should soar so superior to all its prejudices as at once to admit the super-eminent excellence of a poem which ran counter to these in so many particulars. The versification of Milton, according to the taste of the times, was ignoble, from its supposed facility. Dryden was, we have seen, so much possessed with this prejudice, as to pronounce blank verse unfit even for a fugitive paper of verses. Even in his later and riper judgment he affirms, that, whatever pretext Milton might allege for the use of blank verse, "his own particular reason is plainly this,--that rhyme was not his talent; he had neither the ease of doing it, nor the graces of it: which is manifest in his 'Juvenilia,' or verses written in his youth, where his rhyme is always constrained and forced, and comes hardly from him, at an age when the soul is most pliant, and the passion of love makes almost every man a rhymer, though not a poet."

The want of the dignity of rhyme was therefore, according to his idea, an essential deficiency in the "Paradise Lost." According to Aubrey, Dryden communicated to Milton his intention of adding this grace to his poem; to which the venerable bard gave a contemptuous consent, in these words: "Ay, you may _tag_ my verses if you will." Perhaps few have read so far into the "State of Innocence" as to discover that Dryden did not use this licence to the uttermost and that several of the scenes are not tagg'd with rhyme.

Dryden at this period engaged in a research recommended to him by "a noble wit of Scotland," as he terms Sir George Mackenzie, the issue of which, in his apprehension, pointed out further room for improving upon the epic of Milton. This was an inquiry into the "turn of words and thoughts" requisite in heroic poetry. These "turns," according to the definition and examples which Dryden has given us, differ from the points of wit, and quirks of epigram, common in the metaphysical poets, and consist in a happy, and at the same time a natural, recurrence of the same form of expression, melodiously varied. Having failed in his search after these beauties in Cowley, the darling of his youth, "I consulted," says Dryden, "a greater genius (without offence to the manes of that noble author), I mean--Milton; but as he endeavours everywhere to express Homer, whose age had not arrived to that fineness, I found in him a true sublimity, lofty thoughts, which were clothed with admirable Grecisms, and ancient words, which he had been digging from the mines of Chaucer and Spenser, and which, with all their rusticity, had somewhat of venerable in them. But I found not there neither that for which I looked." This judgment Addison has proved to be erroneous, by quoting from Milton the most beautiful example of a turn of words which can be found in English poetry.[31] But Dryden, holding it for just, conceived, doubtless, that in his "State of Innocence" he might exert his skill successfully, by supplying the supposed deficiency, and for relieving those "flats of thought" which he complains of, where Milton, for a hundred lines together, runs on in a "track of scripture;" but which Dennis more justly ascribes to the humble nature of his subject in those passages. The graces, also, which Dryden ventured to interweave with the lofty theme of Milton, were rather those of Ovid than of Virgil, rather turns of verbal expression than of thought. Such is that conceit which met with censure at the time:

"Seraph and cherub, careless of their charge, And wanton, in full ease now live at large; Unguarded leave the passes of the sky, And all dissolved in hallelujahs lie."

"I have heard," said a petulant critic, "of anchovies dissolved in sauce; but never of an angel dissolved in hallelujahs." But this raillery Dryden rebuffs with a quotation from Virgil:

"_Invadunt urbem, somno vinoque sepultam_."

It might have been replied, that Virgil's analogy was familiar and simple, and that of Dryden was far-fetched, and startling by its novelty. The majesty of Milton's verse is strangely degraded in the following speeches, which precede the rising of Pandaemonium. Some of the couplets are utterly flat and bald, and, in others, the balance of point and antithesis is substituted for the simple sublimity of the original:

_Moloch_. Changed as we are, we're yet from homage free; We have, by hell, at least gained liberty: That's worth our fall; thus low though we are driven. Better to rule in hell, than serve in heaven.

_Lucifer_. There spoke the better half of Lucifer!

_Asmoday_. 'Tis fit in frequent senate we confer, And then determine how to steer our course; To wage new war by fraud, or open force. The doom's now past, submission were in vain.

_Mol_. And were it not, such baseness I disdain; I would not stoop, to purchase all above, And should contemn a power, whom prayer could move, As one unworthy to have conquered me.

_Beelzebub_. Moloch, in that all are resolved, like thee The means are unproposed; but 'tis not fit Our dark divan in public view should sit; Or what we plot against the Thunderer, The ignoble crowd of vulgar devils hear.

_Lucif._ A golden palace let be raised on high; To imitate? No, to outshine the sky! All mines are ours, and gold above the rest: Let this be done; and quick as 'twas exprest.

I fancy the reader is now nearly satisfied with Dryden's improvements on Milton. Yet some of his alterations have such peculiar reference to the taste and manners of his age, that I cannot avoid pointing them out. Eve is somewhat of a coquette even in the state of innocence. She exclaims:

"from each tree The feathered kind press down to look on me; The beasts, with up-cast eyes, forsake their shade, And gaze, as if I were to be obeyed. Sure, I am somewhat which they wish to be, And cannot,--I myself am proud of me."

Upon receiving Adam's addresses, she expresses, rather unreasonably in the circumstances, some apprehensions of his infidelity; and, upon the whole, she is considerably too knowing for the primitive state. The same may be said of Adam, whose knowledge in school divinity, and use of syllogistic argument, Dryden, though he found it in the original, was under no necessity to have retained.

The "State of Innocence," as it could not be designed for the stage, seems to have been originally intended as a mere poetical prolusion; for Dryden, who was above affecting such a circumstance, tells us, that it was only made public, because, in consequence of several hundred copies, every one gathering new faults, having been dispersed without his knowledge, it became at length a libel on the author, who was forced to print a correct edition in his own defence. As the incidents and language were ready composed by Milton, we are not surprised when informed, that the composition and revision were completed in a single month. The critics having assailed the poem even before publication, the author has prefixed an "Essay upon Heroic Poetry and Poetic Licence;" in which he treats chiefly of the use of metaphors, and of the legitimacy of machinery.

The Dedication of the "State of Innocence," addressed to Mary of Este, Duchess of York, is a singular specimen of what has been since termed the _celestial_ style of inscription. It is a strain of flattery in the language of adoration; and the elated station of the princess is declared so suited to her excellence, that Providence has only done justice to its own works in placing the most perfect work of heaven where it may be admired by all beholders. Even this flight is surpassed by the following:--"Tis true, you are above all mortal wishes; no man desires impossibilities, because they are beyond the reach of nature. To hope to be a god is folly exalted into madness; but, by the laws of our creation, we are obliged to adore him, and are permitted to love him too at human distance. 'Tis the nature of perfection to be attractive; but the excellency of the object refines the nature of the love. It strikes an impression of awful reverence; 'tis indeed that love which is more properly a zeal than passion. 'Tis the rapture which anchorites find in prayer, when a beam of the divinity shines upon them; that which makes them despise all worldly objects; and yet 'tis all but contemplation. They are seldom visited from above; but a single vision so transports them, that it makes up the happiness of their lives. Mortality cannot bear it often: it finds them in the eagerness and height of their devotion; they are speechless for the time that it continues, and prostrate and dead when it departs." Such eulogy was the taste of the days of Charles, when ladies were deified in dedications and painted as Venus or Diana upon canvas. In our time, the elegance of the language would be scarcely held to counterbalance the absurdity of the compliments.

Lee, the dramatic writer, an excellent poet, though unfortunate in his health and circumstances evinced his friendship for Dryden, rather than his judgment, by prefixing to the "State of Innocence" a copy of verses, in which he compliments the author with having refined the ore of Milton. Dryden repaid this favour by an epistle, in which he beautifully apologises for the extravagancies of his friend's poetry, and consoles him for the censure of those cold judges, whose blame became praise when they accused the warmth which they were incapable of feeling.[32]

Having thus brought the account of our author's productions down to 1674, from which period we date a perceptible change in his taste and mode of composition, I have only to add, that his private situation was probably altered to the worse, by the burning of the King's Theatre, and the debts contracted in rebuilding it. The value of his share in that company must consequently have fallen far short of what it was originally. In other respects, he was probably nearly in the same condition as in 1672. The critics, who assailed his literary reputation, had hitherto spared his private character; and, excepting Rochester, whose malignity towards Dryden now began to display itself, he probably had not lost one person whom he had thought worthy to be called a friend. Lee, who seems first to have distinguished himself about 1672, was probably then added to the number of his intimates. Milton died shortly before the publication of the "State of Innocence;" and we may wish in vain to know his opinion of that piece; but if tradition can be trusted, he said, perhaps on that undertaking, that Dryden was a good rhymer, but no poet. Blount, who had signalised himself in Dryden's defence, was now added to the number of his friends. This gentleman dedicated his "_Religio Laici_" to Dryden in 1683, as his much-honoured friend; and the poet speaks of him with kindness and respect in 1696, three years after his unfortunate and violent catastrophe.

Dryden was, however, soon to experience the mutability of the friendship of wits and courtiers. A period was speedily approaching, when the violence of political faction was to effect a breach between our author and many of those with whom he was now intimately connected; indeed, he was already entangled in the quarrels of the great, and sustained a severe personal outrage, in consequence of a quarrel with which he had little individual concern.

FOOTNOTES:

[1] In "Repartees between Cat and Puss at a caterwauling, in the modern heroic way:"

"_Cat_. Forbear, foul ravisher, this rude address; Canst thou at once both injure and caress?

_Puss_. Thou hast bewitched me with thy powerful charms, And I, by drawing blood, would cure my harms.

_C_. He that does love would set his heart a tilt, Ere one drop of his lady's should be spilt.

_P_. Your wounds are but without, and mine within: You wound my heart, and I but prick your skin; And while your eyes pierce deeper than my claws, You blame the effect of which you are the cause.

_C_. How could my guiltless eyes your heart invade, Had it not first been by your own betrayed? Hence 'tis, my greatest crime has only been (Not in mine eyes, but yours) in being seen.

_P_. I hurt to love, but do not love to hurt.

_C_. That's worse than making cruelty a sport.

_P_. Pain is the foil of pleasure and delight, That sets it off to a more noble height.

_C_. He buys his pleasure at a rate too vain, That takes it up beforehand of his pain.

_P_. Pain is more dear than pleasure when 'tis past.

_C_. But grows intolerable if it last," etc.

[2] Life of Lope de Vega, p. 208.

[3] Dryden was severely censured by the critics for his supernatural persons, and ironically described as the "man, nature seemed to make choice of to enlarge the poet's empire and to complete those discoveries others had begun to shadow. That Shakespeare and Fletcher (as some think) erected the pillars of poetry, is a grosse errour; this Zany of Columbus has discovered a poeticall world of greater extent than the naturall, peopled with Atlantick colonies of notionall creatures, astrall spirits, ghosts, and idols, more various than ever the Indians worshipt, and heroes more lawless than their savages."--_Censure of the Rota_.

[4] His mistress having fallen in love with a disguised barber, a less polished rival exclaims,--

"_Sir Hum_. Nay, for my part, madam, if you must love a cudgelled barber, and take him for a valiant count, make much of him; I shall desist: there are more ladies, heaven be thanked.

"_Trim_. Yes, sir, there are more ladies; but if any man affirms that my fair Dorinda has an equal, I thus fling down my glove, and do demand the combat for her honour.--This is a nice point of honour I have hit."--_Bury Fair_.

[5] The author of the "Friendly Vindication of Mr. Dryden from the Censure of the Rota" (Cambridge, 1673) mentions, "his humble and supplicant addresses to men and ladies of honour, to whom he presented the most of his plays to be read, and so passing through their families, to comply with their censures before-hand; confessing ingenuously, that had he ventured his wits upon the tenter-hooks of Fortune (like other poets who depended more upon the merits of their pens), he had been more severely entangled in his own lines long ago."--Page 7.

[6] Of this want of talent the reader may find sufficient proof in the extracts from his Grace's reflections upon "Absalom and Achitophel."

[7] See "Key to the Rehearsal." "Our most noble author, to manifest his just indignation and hatred of this fulsome new way of writing, used his utmost interest and endeavours to stifle it at its first appearance on the stage, by engaging all his friends to explode and run down these plays; especially the 'United Kingdoms,' which had like to have brought his life into danger.

"The author of it being nobly born, of an ancient and numerous family, had many of his relations and friends in the cock-pit during the acting of it. Some of them perceiving his Grace to head a party, who were very active in damning the play, by hissing and laughing immoderately at the strange conduct thereof, there were persons laid wait for him as he came out; but there being a great tumult and uproar in the house and the passages near it, he escaped; but he was threatened hard. However, the business was composed in a short time, though by what means I have not been informed." The trade of criticism was not uniformly safe in these days. In the Preface to the "Reformation," a beau is only directed to venture to abuse a new play, _if he knows, the author is no fighter._

[8] [Scott has Dryden's authority (in the letter to Hyde already referred to) for this word, but it is pretty certainly rhetorical. See article on "Butler," by the present writer, in the _Encyclopaedia Britannica_, ninth edition.--ED.]

[9] [It may be well to mention that the editions of the "Rehearsal" are very numerous, and that fresh parodies of fresh plays as they appeared were incorporated in them. Scott does not seem to have been fully aware of this.--ED.]

[10] Preface to "An Evening's Love."

[11] Mr. Malone inclines to think there is no allusion to "Marriage à la Mode" in the "Rehearsal." But surely the whimsical distress of Prince Prettyman, "sometimes a fisher's son, sometimes a prince," is precisely that of Leonidas, who is first introduced as the son of a shepherd; secondly, discovered to be the son of an unlawful king called Polydamas; thirdly, proved anew to be the son of the shepherd, and finally proved to be the son of neither of them, but of the lawful king, Theogenes. Besides, the author of the "Key to the Rehearsal" points out a parallel between the revolution of state in the farce, and that by which Leonidas, after being carried off to execution, on a sudden snatches a sword from one of the guards, proclaims himself rightful king, and, without more ceremony, deposes the powerful and jealous usurper, who had sentenced him to death.

[12] Spence's "Anecdotes," quoted by Mr. Malone, vol. i. p. 106.

[13] "I answered not the 'Rehearsal,' because I knew the author sat to himself when he drew the picture, and was the very Bayes of his own farce; because also I knew, that my betters were more concerned than I was in that satire; and, lastly, because Mr. Smith and Mr. Johnson, the main pillars of it, were two such languishing gentlemen in their conversation, that I could liken them to nothing but to their own relations, those noble characters of men of wit and pleasure about the town."--_Dedication to Juvenal_.

[14] The pains which Dryden bestowed on the character of Zimri, and the esteem in which he held it, is evident from his quoting it as the master-piece of his own satire. "The character of Zimri in my 'Absalom' is, in my opinion, worth the whole poem: it is not bloody, but it is ridiculous enough; and he, for him it was intended, was too witty to resent it as an injury. If I had railed, I might have suffered for it justly; but I managed my own work more happily, perhaps more dexterously. I avoided the mention of great crimes, and applied myself to the representing of blind-sides, and little extravagancies; to which, the wittier a man is, he is generally the more obnoxious. It succeeded as I wished; the jest went round, and he was laughed at in his turn who began the frolic."

[15] In one of Cibber's moods of alteration, he combined the comic scenes of these two plays into a comedy entitled, "The Comical Lovers."

[16] "You are changed too, and your pretence to see Is but a nobler name for charity; Your own provisions furnish out our feasts, While you, the founders, make yourselves the guests."--Vol. x.

[17] "Some have expected, from our bills to-day, To find a satire in our poet's ploy. The zealous route from Coleman street did run. To see the story of the Friar and Nun; Or tales yet more ridiculous to hear, Vouched by their vicar often pounds a-year,-- Nuns who did against temptation pray, And discipline laid on the pleasant way: Or that, to please the malice of the town, Our poet should in some close cell have shown Some sister, playing at content alone. This they did hope; the other side did fear; And both, you see, alike are cozened here."

[18] "_Bayes._ I remember once, in a play of mine, I set off a scene, i'gad, beyond expectation, only with a petticoat and the belly-ache.

_Smith_. Pray, how was that, sir?

_Bayes_. Why, sir, I contrived a petticoat to be brought in upon a chair (nobody knew how), into a prince's chamber, whose father was now to see it, that came in by chance.

_Johns_. God's-my-life, that was a notable contrivance indeed!

_Smith_. Ay, but, Mr. Bayes, how could you contrive the belly-ache?

_Bayes._ The easiest i' the world, i'gad: I'll tell you how; I made the prince sit down upon the petticoat, no more than so, and pretended to his father that he had just then got the belly-ache; whereupon his father went out to call a physician, and his man ran away with the petticoat."--_Rehearsal_.

[19] Not Matthew, but Martin, as it is correctly printed before.--Ed.

[20] "To begin with your character of Almanzor, which you avow to have taken from the Achilles in Homer; pray hear what Famianus Strada says of such talkers as Mr. Dryden: _Ridere soleo, cum video homines ab Homeri virtibus strenue declinates, si quid vero irrepsi vitii, id avide arripientes._ But I might have spared this quotation, and you your avowing; for this character might as well have been borrowed from some of the stalls in Bedlam, or any of your own hair-brained cox-combs which you call heroes, and persons of honour. I remember just such another fuming Achilles in Shakespeare, one ancient Pistol, whom he avows to be a man of so fiery a temper, and so impatient of an injury, even from Sir John Falstaff his captain, and a knight, that he not only disobeyed his commands about carrying a letter to Mrs. Page, but returned him an answer as full of contumely, and in as opprobrious terms, as he could imagine:

'Let vultures gripe thy guts, for gourd and Fullam holds, And high and low beguiles the rich and poor. Tester I'll have in pouch, when thou shalt lack, Base Phrygian Turk,' etc.

"Let's see e'er an Abencerrago fly a higher pitch. Take him at another turn, quarrelling with corporal Nym and old Zegri: The difference arose about mine hostess Quickly (for I would not give a rush for a man unless he be particular in matters of this moment); they both aimed at her body, but Abencerrago Pistol defies his rival in these words:

'Fetch from the powdering-tub of infamy That lazar-kite of Cressid's kind, Doll Tearsheet, she by name, and her espouse: I have, and I will hold, The quondam Quickly for the only she. And _pauca_.'

There's enough. Does not quotation sound as well as I[20a]?