Lives of the Poets Part 38

Power was his aim; but, thrown from that pretence, The wretch turn'd loyal in his own defence, And malice reconcil'd him to his prince.

Him, in the anguish of his soul, he serv'd; Rewarded faster still than he deserv'd: Behold him now exalted into trust; His counsels oft convenient, seldom just.

Ev'n in the most sincere advice he gave, He had a grudging still to be a knave.

The frauds he learnt in his fanatick years, Made him uneasy in his lawful gears: At least as little honest as he could; And, like white witches, mischievously good.

To this first bias, longingly he leans; And rather would be great by wicked means.

The Threnodia, which, by a term I am afraid neither authorized nor a.n.a.logical, he calls Augustalis, is not among his happiest productions.

Its first and obvious defect is the irregularity of its metre, to which the ears of that age, however, were accustomed. What is worse, it has neither tenderness nor dignity; it is neither magnificent nor pathetick.

He seems to look round him for images which he cannot find, and what he has he distorts by endeavouring to enlarge them. "He is," he says, "petrified with grief;" but the marble sometimes relents, and trickles in a joke:

The sons of art all med'cines try'd, And ev'ry n.o.ble remedy apply'd:

With emulation each essay'd His utmost skill; _nay, more, they prayd;_ Was never losing game with better conduct play'd.

He had been a little inclined to merriment before upon the prayers of a nation for their dying sovereign; nor was he serious enough to keep heathen fables out of his religion:

With him th' innumerable crowd of armed prayers Knock'd at the gates of heav'n, and knock'd aloud; _The first well-meaning rude pet.i.tioners_ All for his life a.s.sail'd the throne; All would have brib'd the skies by off'ring up their own.

So great a throng not heav'n itself could bar; 'Twas almost borne by force, _as in the giants' war._ The pray'rs, at least, for his reprieve were heard: His death, like Hezekiah's, was deferr'd.

There is, throughout the composition, a desire of splendour without wealth. In the conclusion he seems too much pleased with the prospect of the new reign to have lamented his old master with much sincerity.

He did not miscarry in this attempt for want of skill either in lyrick or elegiack poetry. His poem on the death of Mrs. Killigrew is, undoubtedly, the n.o.blest ode that our language ever has produced. The first part flows with a torrent of enthusiasm: "Fervet immensusque ruit." All the stanzas, indeed, are not equal. An imperial crown cannot be one continued diamond; the gems must be held together by some less valuable matter.

In his first ode for Cecilia's day, which is lost in the splendour of the second, there are pa.s.sages which would have dignified any other poet. The first stanza is vigorous and elegant, though the word _diapason_ is too technical, and the rhymes are too remote from one another:

From harmony, from heavenly harmony, This universal frame began: When nature underneath a heap of jarring atoms lay, And could not heave her head, The tuneful voice was heard from high.

Arise, ye more than dead.

Then cold and hot, and moist and dry, In order to their stations leap, And musick's power obey.

From harmony, from heavenly harmony, This universal frame began; From harmony to harmony Through all the compa.s.s of the notes it ran, The diapason closing full in man.

The conclusion is likewise striking; but it includes an image so awful in itself, that it can owe little to poetry; and I could wish the ant.i.thesis of _musick untuning_ had found some other place:

As from the power of sacred lays The spheres began to move.

And sung the great creator's praise To all the bless'd above:

So, when the last and dreadful hour This crumbling pageant shall devour, The trumpet shall be heard on high, The dead shall live, the living die, And musick shall untune the sky.

Of his skill in elegy he has given a specimen in his Eleonora, of which the following lines discover their author:

Though all these rare endowments of the mind Were in a narrow s.p.a.ce of life confin'd, The figure was with full perfection crown'd; Though not so large an orb, as truly round: As when in glory, through the publick place, The spoils of conquer'd nations were to pa.s.s, And but one day for triumph was allow'd, The consul was constrain'd his pomp to crowd; And so the swift procession hurry'd on, That all, tho' not distinctly, might be shown; So, in the straiten'd bounds of life confin'd, She gave but glimpses of her glorious mind: And mult.i.tudes of virtues pa.s.s'd along; Each pressing foremost in the mighty throng, Ambitious to be seen, and then make room For greater mult.i.tudes that were to come.

Yet unemployed no minute slipp'd away; Moments were precious in so short a stay.

The haste of heaven to have her was so great, That some were single acts, though each complete; And ev'ry act stood ready to repeat.

This piece, however, is not without its faults; there is so much likeness in the initial comparison, that there is no ill.u.s.tration. As a king would be lamented, Eleonora was lamented:

As, when some great and gracious monarch dies, Soft whispers, first, and mournful murmurs rise Among the sad attendants; then the sound Soon gathers voice, and spreads the news around, Through town and country, till the dreadful blast Is blown to distant colonies at last; Who then, perhaps, were off'ring vows in vain, For his long life, and for his happy reign: So slowly, by degrees, unwilling fame Did matchless Eleonora's fate proclaim, Till publick as the loss the news became.

This is little better than to say in praise of a shrub, that it is as green as a tree; or of a brook, that it waters a garden, as a river waters a country.

Dryden confesses that he did not know the lady whom he celebrates: the praise being, therefore, inevitably general, fixes no impression upon the reader, nor excites any tendency to love, nor much desire of imitation.

Knowledge of the subject is to the poet what durable materials are to the architect.

The Religio Laici, which borrows its t.i.tle from the Religio Medici of Browne, is almost the only work of Dryden which can be considered as a voluntary effusion; in this, therefore, it might be hoped, that the full effulgence of his genius would be found. But, unhappily, the subject is rather argumentative than poetical; he intended only a specimen of metrical disputation:

And this unpolish'd rugged verse I chose As fittest for discourse, and nearest prose.

This, however, is a composition of great excellence in its kind, in which the familiar is very properly diversified with the solemn, and the grave with the humorous; in which metre has neither weakened the force, nor clouded the perspicuity of argument; nor will it be easy to find another example equally happy of this middle kind of writing, which, though prosaick in some parts, rises to high poetry in others, and neither towers to the skies, nor creeps along the ground.

Of the same kind, or not far distant from it, is the Hind and Panther, the longest of all Dryden's original poems; an allegory intended to comprise and to decide the controversy between the Romanists and protestants. The scheme of the work is injudicious and incommodious; for what can be more absurd, than that one beast should counsel another to rest her faith upon a pope and council? He seems well enough skilled in the usual topicks of argument, endeavours to show the necessity of an infallible judge, and reproaches the reformers with want of unity; but is weak enough to ask, why, since we see without knowing how, we may not have an infallible judge without knowing where?

The hind, at one time, is afraid to drink at the common brook, because she may be worried; but, walking home with the panther, talks by the way of the Nicene fathers, and at last declares herself to be the catholick church.

This absurdity was very properly ridiculed in the City Mouse and Country Mouse of Montague and Prior; and, in the detection and censure of the incongruity of the fiction, chiefly consists the value of their performance, which, whatever reputation it might obtain by the help of temporary pa.s.sions, seems, to readers almost a century distant, not very forcible or animated.

Pope, whose judgment was, perhaps, a little bribed by the subject, used to mention this poem as the most correct specimen of Dryden's versification. It was, indeed, written when he had completely formed his manner, and may be supposed to exhibit, negligence excepted, his deliberate and ultimate scheme of metre. We may, therefore, reasonably infer, that he did not approve the perpetual uniformity which confines the sense to couplets, since he has broken his lines in the initial paragraph:

A milk-white hind, immortal and unchang'd.

Fed on the lawns, and in the forest rang'd: Without unspotted, innocent within, She fear'd no danger, for she knew no sin.

Yet had she oft been chas'd with horns and hounds, And Scythian shafts, and many winged wounds Aim'd at her heart; was often forc'd to fly, And doom'd to death, though fated not to die.

These lines are lofty, elegant, and musical, notwithstanding the interruption of the pause, of which the effect is rather increase of pleasure by variety, than offence by ruggedness.

To the first part it was his intention, he says, "to give the majestick turn of heroick poesy;" and, perhaps, he might have executed his design not unsuccessfully, had not an opportunity of satire, which he cannot forbear, fallen sometimes in his way. The character of a presbyterian, whose emblem is the wolf, is not very heroically majestick:

More haughty than the rest, the wolfish race Appear with belly gaunt and famish'd face: Never was so deform'd a beast of grace.

His ragged tail betwixt his legs he wears, Close clapp'd for shame; but his rough crest he rears, And p.r.i.c.ks up his predestinating ears.

His general character of the other sorts of beasts that never go to church, though sprightly and keen, has, however, not much of heroick poesy:

These are the chief; to number o'er the rest, And stand like Adam naming ev'ry beast, Were weary work; nor will the muse describe A slimy-born, and sun-begotten tribe,

Who, far from steeples and their sacred sound, In fields their sullen conventicles found.

These gross, half-animated lumps I leave; Nor can I think what thoughts they can conceive; But, if they think at all, 'tis sure no higher Than matter, put in motion, may aspire; Souls that can scarce ferment their ma.s.s of clay, So drossy, so divisible are they, As would but serve pure bodies for allay: Such souls as shards produce, such beetle things As only buzz to heaven with evening wings; Strike in the dark, offending but by chance; Such are the blindfold blows of ignorance.

They know no being, and but hate a name; To them the hind and panther are the same.

One more instance, and that taken from the narrative part, where style was more in his choice, will show how steadily he kept his resolution of heroick dignity:

For when the herd, suffic'd, did late repair To ferny heaths and to their forest lair, She made a mannerly excuse to stay, Proff'ring the hind to wait her half the way; That, since the sky was clear, an hour of talk Might help her to beguile the tedious walk.

With much good-will the motion was embrac'd, To chat awhile on their adventures past: Nor had the grateful hind so soon forgot Her friend and fellow-suff'rer in the plot.

Yet, wond'ring how of late she grew estrang'd, Her forehead cloudy and her count'nance chang'd, She thought this hour th' occasion would present To learn her secret cause of discontent, Which well she hop'd might be with ease redress'd, Consid'ring her a well-bred civil beast.

And more a gentlewoman than the rest.

After some common talk what rumours ran, The lady of the spotted m.u.f.f began.

The second and third parts he professes to have reduced to diction more familiar and more suitable to dispute and conversation; the difference is not, however, very easily perceived; the first has familiar, and the two others have sonorous, lines. The original incongruity runs through the whole: the king is now Caesar, and now the Lion; and the name Pan is given to the supreme being.

But when this const.i.tutional absurdity is forgiven, the poem must be confessed to be written with great smoothness of metre, a wide extent of knowledge, and an abundant multiplicity of images; the controversy is embellished with pointed sentences, diversified by ill.u.s.trations, and enlivened by sallies of invective. Some of the facts to which allusions are made are now become obscure, and, perhaps, there may be many satirical pa.s.sages little understood.