line, so as to make art and order appear as loose and free as nature.' Dryden even contends, that, for variety's sake, the Pindaric measure might be admitted, of which D'Avenant set an example in the «Siege of Rhodes.» But this license, which was probably borrowed from the Spanish stage, has never succeeded elsewhere, except in operas. Finally, it is urged, that rhyme, the most noble verse, is alone fit for tragedies, the most noble species of composition; that, far from injuring a scene in which quick repartee is necessary, it is the last perfection of wit to put it into numbers; and that, even where a trivial and common expression is placed, from necessity, in the mouth of an important character, it receives, from the melody of versification, a dignity befitting the person that is to pronounce it. With this keen and animated defence of a mode of composition, in which he felt his own excellence, Dryden concludes the «Essay of dramatic poesy."

The publication of this criticism, the first that contained an express attempt to regulate dramatic writing, drew general attention, and gave some offence. Sir Robert Howard felt

I

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.

no ways flattered at being made, through the whole dialogue, the champion of unsuccessful opinions and a partiality to the depreciated blank verse seems to have been hereditary in his family.' He therefore hasted to assert his own opinion against that of Dryden, in the preface to one of his plays, called the «Duke of Lerma,» published in the middle of the year 1668. It is difficult for two friends to preserve their temper in a dispute of this nature; and there may be reason to believe, that some dislike to the alliance of Dryden, as a brother-in-law, mingled with the poetical jealousy of Sir Robert Howard. The preface to the «Duke of Lerma» is written in the tone of a man of quality and importance, who is conscious of stooping beneath his own dignity, and neglecting his graver avocations, by engaging in a literary dispute. Dryden was not likely, of many men, to brook this tone of affected superiority. He retorted upon Sir Robert Howard very

'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 passing 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.»

"

severely, in a tract, entitled, the «Defence of the Essay on dramatic poesy," which he prefixed to the second edition of the Indian Emperor," published in 1678. In this piece, the author mentions his antagonist as master of more than twenty legions of arts and sciences, in ironical allusion to Sir Robert's coxcomical affectation of universal knowledge, which had already exposed him to the satire of Shadwell.' He is also described, in reference to some foolish appearance in the House of Commons, as having maintained a contradiction in terminis, in the face of three hundred persons. Neither does Dryden neglect to hold up to ridicule the slips in Latin and English grammar, which marked the offensive preface to the «Duke of Lerma." And although he concludes, that he honoured his adversary's parts and person as much as any man living, and had so many particular obligations to him, that he should be very ungrateful not to acknowledge them to the world, yet the personal and contemptuous severity of the whole piece must have cut to the heart so

Who drew Sir Robert in the character of Sir Positive Atall in the «Sullen Lovers;» a foolish knight, that pretends to understand every thing in the world, and will suffer no man to understand any thing 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.

proud a man as Sir Robert Howard. This quarrel between the baronet and the poet, who was suspected of having crutched up many of his lame performances, furnished food for lampoon and amusement to the indolent wits of the day. But the breach between the brothers-in-law, though wide, proved fortunately not irreconcileable; and towards the end of Dryden's literary career, we find him again upon terms of friendship with the person by whom he had been befriended at its commencement.1 Edward Howard, who, it appears, had entered as warmly as his brother into the contest with Dryden about rhyming tragedies, also seems to have been reconciled to our poet; at least he pronounced a panegyric on his translation of Virgil before it left the press, in a passage which is also curious, from the author ranking in the same line << the two elaborate poems of Blackmore and Milton.>> In testimony of total amnesty, the

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

«I am informed Mr Dryden is now translating of Virgil; and although I must own it is fault to forestall or anticipate 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 al

«Defence of the Essay» was cancelled; and it must be rare indeed to meet with an original edition of it, since Mr Malone had never seen one.1

Dryden's fame, as an author, was doubt

ready 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 sprit, a vigorous and well-governed thought, which are, as it were, the soul which inform and animate the whole mass 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.

'That now before me is prefixed to the second edition of the Indian Emperor,» 1668.