The Dramatic Works of John Dryden Part 25

[52] Those who wish to peruse this memorable romance may find it in vol.

xviii. It was first published in Wilson's "Life of Congreve," 1730. Mr.

Malone has successfully shown that it is false in almost all its parts; for, independently of the extreme improbability of the whole story, it is clear, from Ward's account, written at the time, that Lord Jefferies, who it is pretended interrupted the funeral, did, in fact, largely contribute to it. This also appears from a paragraph, in a letter from Doctor afterwards Bishop Tanner, dated May 6th, 1700, and thus given by Mr. Malone:--"Mr. Dryden died a papist, if at all a Christian. Mr.

Montague had given orders to bury him; but some lords (my Lord Dorset, Jefferies, etc.), thinking it would not be splendid enough, ordered him to be carried to Russel's: there he was embalmed; and now lies in state at the Physicians' College, and is to be buried with Chaucer, Cowley, etc., at Westminster Abbey, on Monday next."--_MSS. Ballard. in Bibl.

Bodl._ vol. iv. p. 29.

[53] The following lines are given by Mr. Malone as a specimen:--

"Before the hea.r.s.e the mourning hautboys go, And screech a dismal sound of grief and woe: More dismal notes from bog-trotters may fall, More dismal plaints at Irish funeral; But no such floods of tears e'er stopped our tide, Since Charles, the martyr and the monarch, died.

The decency and order first describe, Without regard to either s.e.x or tribe.

The sable coaches led the dismal van, But by their side, I think, few footmen ran; Nor needed these; the rabble fill the streets, And mob with mob in great disorder meets.

See next the coaches, how they are accouter'd, Both in the inside, eke and on the outward: One p----y spark, one sound as any roach, One poet and two fiddlers in a coach: The playhouse drab, that beats the beggar's bush, * * * * *

By everybody kissed, good truth,--but such is Now her good fate, to ride with mistress d.u.c.h.ess.

Was e'er immortal poet thus buffooned!

In a long line of coaches thus lampooned!"

[54] [Transcriber's note: "Page 73" in original. See Footnote 14, Section II.]

[55] [Transcriber's note: "'Poet Squab,' p. 215" in original. See Footnote 14, Section V.]

[56] From "Epigrams on the Paintings of the most eminent Masters," by J.E. (John Elsum), Esq., 8vo, 1700, Mr. Malone gives the following lines:--

The Effigies of Mr. Dryden, by Closterman, _Epig_. clxiv.

"A sleepy eye he shows, and no sweet feature, Yet was indeed a favourite of nature: Endowed and graced with an exalted mind, With store of wit, and that of every kind.

Juvenal's tartness, Horace's sweet air, With Virgil's force, in him concentered were.

But though the painter's art can never show it, That his exemplar was so great a poet, Yet are the lines and tints so subtly wrought, You may perceive he was a man of thought.

Closterman, 'tis confessed, has drawn him well, But short of Absalom and Achitophel."

[57] [Transcriber's note: "See pages 258-261" in original. This corresponds to the discussion on Dryden's conversion to Catholicism, Section VI.]

[58] A correspondent of the Gentleman's Magazine, in 1745, already quoted, says of him as a personal acquaintance: "Posterity is absolutely mistaken as to that great man: though forced to be a satirist, he was the mildest creature breathing, and the readiest to help the young and deserving. Though his comedies are horribly full of _double entendre_, yet 'twas owing to a false complaisance. He was, in company, the modestest man that ever conversed."

[59] Letter to the author of "Reflections Historical and Political."

4to, 1732.

[60] See vol. xi.; vol. xviii. From the poem in the pa.s.sage last quoted, it seems that the original sign of Will's Coffee-house had been a _cow._ It was changed however, to a _rose_, in Dryden's time. This wit's coffeehouse was situated at the end of Bow-street, on the north side of Russel-street, and frequented by all who made any pretence to literature, or criticism. Their company, it would seem, was attended with more honour than profit; for Dennis describes William Envin, or Urwin, who kept the house, as taking refuge in White-friars, then a place of asylum, to escape the clutches of his creditors. "For since the law," says the critic, "thought it just to put Will out of its protection, Will thought it but prudent to put himself out of its power."

[61] See Appendix, vol. xviii.; vol. xi.

[62] The Dean of Peterborough. "I was," says he, "about seventeen, when I first came to town; an odd-looking boy, with short rough hair, and that sort of awkwardness which one always brings out of the country with one: however, in spite of my bashfulness and appearance, I used now and then to thrust myself into Will's, to have the pleasure of seeing the most celebrated wits of that time, who used to resort thither. The second time that ever I was there, Mr. Dryden was speaking of his own things, as he frequently did, especially of such as had been lately published. If anything of mine is good (says he), 'tis my Mac-Flecknoe; and I value myself the more on it, because it is the first piece of ridicule written in heroics.' Lockier overhearing this, plucked up his spirit so far, as to say, in a voice just loud enough to be heard, that Mac-Flecknoe was a very fine poem, but that he had not imagined it to be the first that ever was wrote that way. On this Dryden turned short upon him, as surprised at his interposing; asked him how long he had been a dealer in poetry; and added, with a smile,--'But pray, sir, what is it, that you did imagine to have been writ so before?' Lockier named Boileau's Lutrin, and Ta.s.soni's Secchia Rapita; which he had read, and knew Dryden had borrowed some strokes from each. ''Tis true,' says Dryden;--'I had forgot them.' A little after, Dryden went out, and in going spoke to Lockier again, and desired him to come to him the next day. Lockier was highly delighted with the invitation, and was well acquainted with him as long as he lived."--MALONE, vol. i. p. 481.

[63] "I have often heard," says Mr. George Russell, "that Mr. Dryden, dissatisfied and envious at the reputation Creech obtained by his translation of Lucretius, purposely advised him to undertake Horace, to which he knew him unequal, that he might by his ill performance lose the fame he had acquired. Mr. Southerne, author of 'Oroonoko,' set me right as to the conduct of Mr. Dryden in this affair; affirming that, being one evening at Mr. Dryden's lodgings, in company with Mr. Creech, and some other ingenious men, Mr. Creech told the company of his design to translate Horace; from which Mr. Dryden, with many arguments, dissuaded him, as an attempt which his genius was not adapted to, and which would risk his losing the good opinion the world had of him, by his successful translation of Lucretius. I thought it proper to acquaint you with this circ.u.mstance, since it rescues the fame of one of our greatest poets from the imputation of envy and malevolence." See also, upon this subject, a note in vol. viii. Yet Jacob Tonson told Spence, "that Dryden would compliment Crowne when a play of his failed, but was cold to him if he met with success. He used sometimes to say, that Crowne had some genius; but then he always added, that his father and Crowne's mother were very well acquainted."--MALONE, vol. i. p. 500.

[64] His conversation is thus characterised by a contemporary writer:

"O, Sir, there's a medium in all things. Silence and chat are distant enough, to have a convenient discourse come between them; and thus far I agree with you, that the company of the author of 'Absalom and Achitophel' is more valuable, though not so talkative, than that of the modern men of _banter_; for what he says is like what he writes, much to the purpose, and full of mighty sense; and if the town were for anything desirable, it were for the conversation of him, and one or two more of the same character."--_The Humours and Conversation of the Town exposed, in two Dialogues_, 1693, p. 73

[65] [This story is probably as old as the first married pair of whom the husband was studious. It certainly appears without names in the _Historiettes_ of Tallemant des Reaux, most of which were written five years before Dryden's marriage.--ED]

[66] "When Dryden, our first great master of verse and harmony, brought his play of 'Amphitryon' to the stage, I heard him give it his first reading to the actors; in which, though it is true he delivered the plain sense of every period, yet the whole was in so cold, so flat, and unaffecting a manner, that I am afraid of not being believed, when I affirm it."--_Cibber's Apology_, 4to.

[67] [Transcriber's note: "See page 112" in original. This is to be found in Section III.]

[68] Vol. xviii.

[69] "I find (says Gildon) Mr. Bayes, the younger [Rowe], has two qualities, like Mr. Bayes, the elder; his admiration of some odd books, as 'Reynard the Fox,' and the old ballads of 'Jane Sh.o.r.e,' etc."-- _Remarks on Mr. Rome's Plays_. "Reynard the Fox" is also mentioned in "The Town and Country Mouse," as a favourite book of Dryden. And Addison, in the 85th number of the Spectator, informs us, that Dorset and Dryden delighted in perusing the collection of old ballads which the latter possessed.

[70] Vol. xviii.

[71] It is now No. 43.

[72] Vol. vii.

[73] [The unfavourable accounts of Lady Elizabeth's temper after marriage are not much better founded than those of her maidenly or unmaidenly conduct before it. Dryden's supposed to almost all his contemporaries in _belles-lettres_. There is no sign in his letters of any conjugal unhappiness, and Malone's "respectable authority" is family gossip a century after date.--ED.]

[74] [Transcriber's note: "P. 85" in original. This is to be found in Section II.]

[75] These are--1. Latin verses prefixed to Lord Roscommon's Essay on Translated Verse. 2. Latin verses on the Death of Charles II., published in the Cambridge collection of Elegies on that occasion. 3. A poem in the same language, upon Lord Arlington's Gardens, published in the Second Miscellany. 4. A translation of the seventh Satire of Juvenal, mentioned in the text. 5. An English poem, on the Happiness of a Retired Life. 6. A pretty song, printed by Mr. Malone, to which Charles Dryden also composed music.

[76] The prologue was spoken by the ghosts of Shakespeare and Dryden; from which Mr. Malone selects the following curious quotation:--"Mr.

Bevil Higgons, the writer of it, _ventured_ to make the representative of our great dramatic poet speak these lines!--

"These scenes in their rough native dress were mine; _But now, improved, with n.o.bler l.u.s.tre shine_ The first rude sketches Shakespeare's pencil drew, _But all the shining master strokes are new._ This play, ye critics, shall your fury stand, Adorned and rescued by a faultless hand."

To which our author replies,

"I long endeavoured to support the stage, With the faint copies of thy n.o.bler rage, But toiled in vain for an ungenerous age.

They starved me living, nay, denied me fame, And scarce, now dead, do justice to my name.

Would you repent? Be to my ashes kind; Indulge the pledges I have left behind."--MALONE.

[77] [Transcriber's note: "Page 206, and vol. ix." in original. This is to be found in Section V.]

[78] Mr. Malone says, "Edward Dryden, the eldest son of the last Sir Erasmus Dryden, left by his wife, Elizabeth Allen, who died in London in 1761, five sons; the youngest of whom, Bevil, was father of the present Lady Dryden. Sir John, the eldest, survived all his brothers, and died without issue, at Canons-Ashby, March 20, 1770." [The subsequent history of the family is as follows:--Elizabeth Dryden, the "present Lady Dryden" referred to by Scott, married Mr. John Turner, to whom she carried the estates. Mr. Turner a.s.sumed the name and arms of Dryden in 1791, and was created a baronet four years later. The t.i.tle and property pa.s.sed successively to his two sons, and then to the son of the younger, the present Sir Henry Dryden, a distinguished archaeologist.--ED.]

SECTION VIII.

_The State of Dryden's Reputation at his Death, and afterwards--The General Character of his Mind--His Merit as a Dramatist--As a Lyrical Poet---As a Satirist--As a Narrative Poet--As a Philosophical and Miscellaneous Poet--As a Translator--As a Prose Author--As a Critic._

If Dryden received but a slender share of the gifts of fortune, it was amply made up to him in reputation. Even while a poet militant upon earth, he received no ordinary portion of that applause, which is too often reserved for the "dull cold ear of death." He combated, it is true, but he conquered; and, in despite of faction, civil and religious, of penury, and the contempt which follows it, of degrading patronage, and rejected solicitation, from 1666 to the year of his death, the name of Dryden was first in English literature. Nor was his fame limited to Britain. Of the French literati, although Boileau,[1] with unworthy affectation, when he heard of the honours paid to the poet's remains, pretended ignorance even of his name, yet Rapin, the famous critic, learned the English language on purpose to read the works of Dryden.[2]

Sir John Shadwell, the son of our author's ancient adversary, bore an honourable and manly testimony to the general regret among the men of letters at Paris for the death of Dryden. "The men of letters here lament the loss of Mr. Dryden very much. The honours paid to him have done our countrymen no small service; for, next to having so considerable a man of our own growth, 'tis a reputation to have known how to value him; as patrons very often pa.s.s for wits, by esteeming those that are so." And from another authority we learn, that the engraved copies of Dryden's portrait were bought up with avidity on the Continent.[3]

But it was in England where the loss of Dryden was chiefly to be felt.

It is seldom the extent of such a deprivation is understood, till it has taken place; as the size of an object is best estimated, when we see the s.p.a.ce void which it had long occupied. The men of literature, starting as it were from a dream, began to heap commemorations, panegyrics, and elegies: the great were as much astonished at their own neglect of such an object of bounty, as if the same had never been practised before; and expressed as much compunction, as it were never to occur again. The poets were not silent; but their strains only evinced their woful degeneracy from him whom they mourned. Henry Playford, a publisher of music, collected their effusions into a compilation, ent.i.tled, "Luctus Britannici, or the Tears of the British Muses, for the death of John Dryden;" which he published about two months after Dryden's death.[4]

Nine ladies, a.s.suming each the character of a Muse, and clubbing a funeral ode, or elegy, produced "The Nine Muses;" of which very rare (and very worthless) collection, I have given a short account in the Appendix; where the reader will also find an ode on the same subject, by Oldys, which may serve for ample specimen of the poetical lamentations over Dryden.