"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 sepullam."

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 Pandæmonium. 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 gain'd 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 conquer'd 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 Eve is somewhat of a coquette even in the state of innocence. She exclaims,

out.

"from each tree

The feather'd kind press down to look on me;

The beasts, with up-cast eyes, forsake their shade,
And gaze, as if I were to be obey'd.

Sure, I am somewhat which they wish to be,
And cannot, I myself am proud of me."

The

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. 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 License;" 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, Dutchess 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 elevated 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, be

cause 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 canvass. 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 apologizes 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.*

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 proba

* See this Epistle, vol. XI. p. 22. It was prefixed to "Alexander the Great;" a play, the merits and faults of which are both in ex

treme.

bly 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 signalized 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.

SECTION IV.

Dryden's Controversy with Settle-with Rochester-He is assaulted in Rose-Street-Aureng-Zebe-Dryden meditates an Epic Poem-All for Love-Limberham-Edipus-Troilus and Cressida-The Spanish Friar-Dryden supposed to be in opposition to the Court.

"THE State of Innocence" was published in 1674, and "Aureng-Zebe," Dryden's next tragedy, appeared in 1675. In the interval, he informs us, his ardour for rhyming plays had considerably abated. The course of study which he imposed on himself, doubtless led him to this conclusion. But it is also possible, that he found the peculiar facilities of that drama had excited the emulation of very inferior poets, who, by dint of show, rant, and clamorous hexameters, were likely to divide with him the public favour. Before proceeding, therefore, to state the gradual alteration in Dryden's own taste, we must perform the task of detailing the literary quarrels in which he was at this period engaged. The chief of his rivals was Elkanah Settle, a person afterwards utterly contemptible; but who, first by the strength of a party at court, and afterwards by a faction in the state, was, for a time, buoyed up in opposition to Dryden. It is impossible to detail the progress of the contest for public favour between these two ill-matched rivals, without noticing at the same time Dryden's quarrel with Rochester, who appears to have played off Settle in opposition to him, as absolutely, and nearly as successfully, as Settle ever played off the literal puppets, for which, in the ebb of his fortune, he wrote dramas.

In the year 1673, Dryden and Rochester were on such friendly terms, that our poet inscribed to his lordship his favourite play of "Marriage A-la-Mode;" not without acknowledgment of the deepest gratitude for favours done to his fortune and reputation. The dedi'cation, we have seen, was so favourably accepted by