The Dramatic Works of John Dryden Part 5

[14] He describes him as,

"Still smooth, as when, adorned with youthful pride, For thy dear sake the blushing virgins died, When the kind G.o.ds of wit and love combined, And with large gifts thy yielding soul refined."

[15] The epilogue has these lines:

"But now if by my suit you'll not be won, You know what your unkindness oft has done,-- I'll e'en forsake the playhouse, and turn Nun."

[16] [Scott's account of the marriage is incorrect in one or two particulars, and incomplete in others. It took place on the 1st of December 1663, at St. Swithin's, and the licence, dated the day before, removes all idea of a clandestine match or of family disapproval.

"Ultimo Novembris 1663

[Sidenote: Juratus Hen: Smyth: Jun:]

Which day appeared personally John Driden of St. Clemt. Danes in the County of Midd Esqr aged about 30ty yeeres and a Batchelor and alledged that hee intendeth to marry with Dame Elizabeth Howard of St. Martin in the Fields in the County aforesaid aged about 25 yeeres with the consent of her Father Thomas Earle of Berke not knowing nor believing any impediment to hinder the intended marriage of the truth of the prmisses he made faith and prayed Licence for them to bee married in the parish church of St. Swithins London." [Transcriber's note: spelling as in the original.]

While, however, this entry, discovered since Scott wrote, clears up one part of the story, another discovery has been thought to darken it again. The following letter from Lady Elizabeth Howard appears in the letters of Philip, second Earl of Chesterfield:--

"_From the_ Lady Elizabeth Howard _Daughter to the_ Earle of Barksshire.

"1658.

"My LORD,--I received yours, though not without great trouble, but am not guilty of any thing you lay to my charge, nor will I ever alter from the expressions I have formerly made, therefore I hope you will not be so unjust as to beleive all that the world sayes of mee, but rather credit my protestation of never having named you to my friends, being allwayes carefull of that for my own sake as well as yours; and therefore let it not be in the power of any, nor of your own inclinations, to make mee less,

Your very humble Servant.

"If you will meet mee in the Old Exchange, about six a clock, I will justify my selfe."--_Letters of Philip, second Earl of Chesterfield_, 1829, p. 95. This was the same Earl of Chesterfield to whom Dryden dedicated the _Georgics_ thirty years later.

As Dryden's detractors have been nearly as anxious to blacken his wife's character as his own, they have seized on this letter to confirm the reckless and random a.s.sertions of contemporary libellers, that her reputation was questionable. The matter may be left to readers to decide,--I can see nothing in the phrases necessarily implying any improper intimacy.

Perhaps it is not superfluous to observe that Scott has not shown his accustomed judgment and knowledge of the seventeenth century in his remark about the Howards and the tobacconists. The separation between cla.s.ses, as such, was indeed sharp; but it was probably rather more than less usual then than now for scions of n.o.ble and gentle families to go into retail trade. It may be added that the evidence of a quarrel between Dryden and his own family is far from strong, and that one of the causes a.s.signed by Scott for that quarrel, the change of spelling, is very dubious as a matter of fact. It has been seen that "Driden"

appears in the licence, and it is not certain that the poet invented the _y_, or first used it.

Very shortly after the marriage occurs the first mention of Dryden of a personal kind. Pepys writes, under date February 3d, 1664: "In Covent Garden to-night at the great coffee-house, where Dryden the poet I knew at Cambridge and all the wits of the town."--ED.]

[17] [To give exact dates, the preface to Sir R. Howard is dated November 10th, 1666. The poem appeared immediately afterwards. Pepys bought it on the 2d of February, and p.r.o.nounced it "a very good poem."

Some other dates and facts of a more precise kind than those in the text may be given here. Dryden left London in the summer of 1665, either from dread of the plague, or because the playhouses were shut. The interval of eighteen months seems to have been wholly spent at Charlton, and Charles Dryden, his eldest son, was born during this time, though the precise date is not known. Charlton is near Malmesbury in Wiltshire, and as Dryden afterwards speaks of himself as possessed of some property in that county, it has been reasonably conjectured that it was in virtue of a settlement on his wife. But if so, it cannot have been freehold property of Lord Berkshire's, as the poet says that he holds of the Hydes. Lady Elizabeth had received a considerable grant (3000) from the Crown in recognition of her father's services, but it is not certain that it was ever paid. No London domicile of his is known except the house in Gerrard Street, now marked with a plate by the Society of Arts.

There is a house--now subdivided--in Fetter Lane which also has a plate (the successor of a stone inscription) stating that Dryden lived there.

No biographer takes notice of this, and the topographers who do notice it do not believe the story. If there be any foundation for it, the period of his residence must probably have been before his marriage.-- ED.]

[18] [I venture to think this last remark overstated. Sarcasms on matrimony were the fashion, and Dryden followed it. The evidence of mutual unhappiness is almost _nil_.--ED.]

[19] Sandford, a most judicious actor, is said, by Cibber, cautiously to have observed this rule, in order to avoid surfeiting the audience by the continual recurrence of rhyme.

[20] The Honourable Edward Howard, Sir Robert's brother, expresses himself in the preface to the "Usurper," a play Published in 1668, "not insensible to the disadvantage it may receive pa.s.sing into the world upon the naked feet of verse, with other works that have their measures adorned with the trappings of rhyme, which, however they have succeeded in wit or design, is still thought music, as the heroic tone now goes; but whether so natural to a play, that should most nearly imitate, in some cases, our familiar converse, the judicious may easily determine."

[21] [A dislike which was silent for five years, if it existed.--ED.]

[22] Who drew Sir Robert in the character of Sir Positive Atall in the "Sullen Lovers;" "a foolish knight, that pretends to understand everything in the world, and will suffer no man to understand anything in his company; so foolishly positive, that he will never be convinced of an error, though never so gross." This character is supported with great humour.

[23] In a letter from Dryden to Tonson, dated 26th May 1696, in which he reckons upon Sir Robert Howard's a.s.sistance in a pecuniary transaction.

[24] "I am informed Mr. Dryden is now translating of Virgil; and although I must own it is a fault to forestall or antic.i.p.ate the praise of a man in his labours, yet, big with the greatness of the work, and the vast capacity of the author, I cannot here forbear saying, that Mr.

Dryden, in the translating of Virgil, will of a certain make Maro speak better than ever Maro thought. Besides those already mentioned, there are other ingredients and essential parts of poetry, necessary for the forming of a truly great and happy genius, viz. a free air and spirit, a vigorous and well governed thought, which are, as it were, the soul which inform and animate the whole ma.s.s and body of verse. But these are such divine excellencies as are peculiar only to the brave and the wise.

The first chief in verse, who trode in this sweet and delightful path of the Muses, was the renowned Earl of Roscommon, a great worthy, as well as a great wit; and who is, in all respects, resembled by another great Lord of this present age, viz. my Lord Cutts, a person whom all people must allow to be an accomplished gentleman, a great general, and a fine poet.

"The two elaborate poems of Blackmore and Milton, the which, for the dignity of them, may very well be looked upon as the two grand exemplars of poetry, do either of them exceed, and are more to be valued than all the poets, both of the Romans and the Greeks put together. There are two other incomparable pieces of poetry, viz. Mr. Dryden's 'Absalom and Achitophel,' and the epistle of a known and celebrated wit (_Mr. Charles Montague_) to my Lord of Dorset, the best judge in poetry, as well as the best poet; the tutelar _numen_ o' the stage, and on whose breath all the Muses have their dependence."--_Proem to an Essay on Pastoral, and Elegy on Queen Mary, by the Honourable Edward Howard, 21st January_ 1695.

[25] That now before me is prefixed to the second edition of the "Indian Emperor," 1668.

[26] [It seems to have been a memorial addressed to the Lord Chamberlain for the time, and was long in the possession of the Killigrew family. It was communicated by the learned Mr. Reed to Mr. Malone, and runs as follows:--

"Whereas, upon Mr. Dryden's binding himself to write _three playes_ a yeere, the said Mr. Dryden, was admitted, and continued as a sharer, in the King's Playhouse for diverse years, and received for his share and a quarter, three or four hundred pounds, _communibus annis_; but though he received the moneys, we received not the playes, not one in a yeare.

After which, the House being burnt, the Company, in building another, contracted great debts, so that the shares fell much short of what they were formerly. Thereupon, Mr. Dryden complaining to the Company of his want of proffit, the Company was so kind to him, that they not only did not presse him for the playes which he so engaged to write for them, and for which he was paid beforehand, but they did also, at his earnest request, give him a third day for his last new play, called 'All for Love;' and at the receipt of the money of the said third day, he acknowledged it as a guift, and a particular kindnesse of the Company.

Yet, notwithstanding this kind proceeding, Mr. Dryden has now, jointly with Mr. Lee (who was in pension with us to the last day of our playing, and shall continue), written a play, called 'Oedipus,' and given it to the Duke's Company, contrary to his said agreement, his promise, and all grat.i.tude, to the great prejudice and almost undoing of the Company, they being the only poets remaining to us. Mr. Crowne, being under the like agreement with the Duke's House, writt a play, called the 'Destruction of Jerusalem,' and being forced, by their refusall of it, to bring it to us, the said Company compelled us, after the studying of it, and a vast expence in scenes and cloathes, to buy off their clayme, by paying all the pension he had received from them, amounting to one hundred and twelve pounds paid by the King's Company, besides neere forty pounds he, the said Mr. Crowne, paid out of his owne pocket.

"These things considered, if, notwithstanding Mr. Dryden's said agreement, promise, and moneys, freely given him for his said last new play, and the many t.i.tles we have to his writings, this play be judged away from us, we must submit.

(Signed) "CHARLES KILLIGREW.

CHARLES HART.

RICH. BURT.

CARDELL GOODMAN.

MIC. MOHUN."

Dryden also appears as a regular partner in the King's Company in an agreement to repay money lent for the purpose of rebuilding the Theatre after its burning in 1672.--_Shakespeare Society's Papers_, iv. 147.-- ED.]

[27] Cibber, with his usual vivacity, thus describes the comic powers of Nokes in this admired character:

"In the ludicrous distresses, which, by the laws of comedy, folly is often involved in, he sunk into such a mixture of piteous pusillanimity, and a consternation so ruefully ridiculous and inconsolable, that when he had shook you to a fatigue of laughter, it became a moot point, whether you ought not to have pity'd him. When he debated any matter by himself, he would shut up his mouth with a dumb studious powt, and roll his full eye into such a vacant amazement, such palpable ignorance of what to think of it, that his silent perplexity (which would sometimes hold him several minutes) gave your imagination as full content, as the most absurd thing he could say upon it. In the character of Sir Martin Mar-all, who is always committing blunders to the prejudice of his own interest, when he had brought himself to a dilemma in his affairs, by vainly proceeding upon his own head, and was afterwards afraid to look his governing servant and counsellor in the face; what a copious and distressful harangue have I seen him make with his looks (while the house has been in one continued roar for several minutes) before he could prevail with his courage to speak a word to him! Then might you have, at once, read in his face vexation--that his own measures, which he had piqued himself upon, had failed; envy of his servant's wit; distress--to retrieve the occasion he had lost; shame--to confess his folly; and yet a sullen desire to be reconciled, and better advised for the future! What tragedy ever showed us such a tumult of pa.s.sions rising, at once, in one bosom! or what buskin hero, standing under the load of them, could have more effectually moved his spectators by the most pathetic speech, than poor miserable Nokes did by this silent eloquence, and piteous plight of his features?"--CIBBER'S _Apology_, p.

86.

[28] [This sentence rests on a rather slender basis of fact. Butler is said to have had a share in the "Rehearsal," and certainly wrote a charming parody of the usual heroic-play dialogue, in his scene between "Cat and Puss." But this of itself can hardly be said to justify the phrase "adversary of our author's reputation." As for Dryden, he nowhere attacks Butler, and speaks honourably of him after his death in his complaint to Lawrence Hyde.--ED.]

[29] [This is the correct date of the patent. There is however in the Record Office an instruction for the preparation of a bill for the purpose, dated April 13. This was pointed out to me by Mr. W. Noel Sainsbury.--ED.]

[30] Pat. 22 Car. 11. p. 6, ii. 6. Malone, i. p. 88.

[31] Their account was probably exaggerated. Upon a similar occasion, the master of the revels stated the value of his winter and summer benefit plays at 50 each; although, in reality, they did not, upon an average, produce him 9. See Malone's _Historical Account of the Stage_.

[32] [1672.--ED.]

SECTION III.

_Heroic Plays--The Rehearsal--Marriage a la Mode--The a.s.signation-- Controversy with Clifford--with Leigh--with Ravenscroft--Ma.s.sacre of Amboyna--State of Innocence_.