The latter years of his life were devoted to the translation of Juvenal and Perseus, and of the Æneid, by which he is more known than by any of his original poetry, if we except the "Ode on St. Cecilia's Day," which he "finished at one sitting," as he himself said, while he was engaged in trans lating the Mantuan bard. This ode ranks among the best lyrical pieces in our language; but it contains some licentiousness of imagery and description which justly detracts from its general popularity. His last work was a Masque, composed about three weeks before his death, which took place on the 1st of May, 1700. He was buried in Westminster Abbey. The character of Dryden is not such as to command our respect or esteem He seems to have had no sound principles, either in morals or in religion. His movements were those of the weathercock, showing the current of the popular breeze. He wrote for the day, and he had his reward,-popularity for the time, but comparative neglect with posterity. As a poet he cannot take rank in the first class. A writer in the Retrospective Review1 very justly remarks, that "it is well that his fame has become a settled conviction in the public mind, for were a man casually called upon to prove the truth of the position, though secure of ultimate victory, he would find the task not unencumbered with difficulty-he could not appeal to any particular work, as being universally read, and as universally admired and approved. His translations, it is true, are spirited, and convey all, and frequently more than the writer's meaning; but then, he has taken improper liberties with his author, and fills the mind of the reader with emotions of a different character than would be produced by the original. Then his plays are bombastic, and as a proof of their worthlessness, it may be alleged they are forgotten. His fables, his odes, his tales, his satires remain; all of which, it is clear, on the reading, could only be written by a man of gigantic genius, but are, as wholes, from the lapse of time and the occasional nature of many, and from the imperfections of haste and carelessness, far from being among the choice favorites of the common reader." To these remarks may be added the discriminating criticism of Campbell:2 "He is a writer of manly and elastic character. His strong judgment gave force as well as direction to a flexible fancy; and his harmony is generally the echo of solid thoughts. But he was not gifted with intense or lofty sensibility; on the contrary, the grosser any idea is, the happier he seems to expatiate upon it. The transports of the heart, and the deep and varied delineations of the passions, are strangers to his poetry. He could describe character in the abstract, but could not embody it in the drama, for he entered into character more from clear perception than fervid sympathy. This great High Priest of all the Nine was not a confessor to the finer secrets of the hu man breast. Had the subject of Eloisa fallen into his hands, he would have left but a coarse draft of her passion." Such, I think, is a fair view of Dryden's poetical character. True, Gray, in his "Progress of Poesy," alludes to "the stately march and sounding energy of his rhymes;" and these qualities they certainly possess: and the same fas tidious critic has justly immortalized the "thoughts that breathe, and words that burn," in his celebrated lyric, "Alexander's Feast." But after all, he possesses in a slight degree, comparatively, those great qualities which make the true poet-imagination-fancy-invention-pathos-sublimity. That he might have done better than he has, I have not the least doubt. Hence, his case reads a most instructive lesson to men of intellect. Endowed with ab 1 Retrospective Review, 1. 113. 2 Specimens, i. 237. lities of the highest order, he was clearly capable of producing such works as posterity would "not willingly let die." But instead of spending his mighty strength upon those principles of immutable truth and of universal human nature, which will ever find a response in the human heart as long as there are hearts to feel; he wasted his time and debased his genius, by writing too much upon subjects of merely temporal interest, and in such a manner as to be in keeping with the corrupt sentiments and the licentious spirit of the age. When will men of genius, capable of exerting a mighty influence for good, for all coming time, learn to trample under their feet the false and debasing sentiments, dishonoring to God and degrading to man, that exist around them, and rise to immortality by the only sure paths,-virtue and truth?! ODE TO THE MEMORY OF MRS. ANNE KILLEGREW. Thou youngest virgin-daughter of the skies, Thou tread'st, with seraphims, the vast abyss: Hear, then, a mortal Muse thy praise rehearse, But such as thine own voice did practise here, If by traduction came thy mind, A soul so charming from a stock so good; But if thy pre-existing soul Was form'd at first with myriads more, Who Greek or Latin laurels wore, And was that Sappho last, which once it was before. 1 Read-two articles on Dryden in the Retrospective Review, 1. 113, and iv. 55: also, one in the Edinburgh, xlii. 116, and another in Macaulay's Miscellanies, 1. 127. xviii., and in Hallam's Literature, pp. 377 and 378. The best edition Sir Walter Scott, 18 vols. 8vo. Edinburgh, 1821. Also, in Blair's lectures, lect. of Dryden's works is that by Than was the beauteous frame she left behind. O gracious God! how far have we (Nay, added fat pollutions of our own,) Tincrease the steaming ordures of the stage? Her wit was more than man; her innocence a child. When in mid-air the golden trump shall sound, When in the valley of Jehoshaphat, The judging God shall close the book of fate; For those who wake, and those who sleep; And foremost from the tomb shall bound, ON MILTON. Three poets, in three distant ages born, VENI CREATOR SPIRITUS,1 Paraphrased from the Latin Hymn. Creator Spirit, by whose aid The world's foundations first were laid, Come visit every pious mind; Come pour thy joys on human kind; Our hearts with heavenly love inspire; 1 Come, Creator Spirit. 2 A Greek word signifying advocate, helper, conforter Come, and thy sacred unction bring To sanctify us, while we sing. Plenteous of grace, descend from high, Thou strength of his Almighty hand, Whose power does heaven and earth command. Who dost the gift of tongues dispense, Who for lost man's redemption died : And equal adoration be, Eternal Paraclete, to thee. ENJOYMENT OF THE PRESENT HOUR RECOMMENDED. Imitated from Horace. Enjoy the present smiling hour, And put it out of Fortune's power: The tide of business, like the running stream, Is sometimes high, and sometimes low, And always in extreme. Now with a noiseless gentle course It keeps within the middle bed; Anon it lifts aloft the head, And bears down all before it with impetuous force; Sheep and their folds together drown: Both house and homestead into seas are borne; And woods, made thin with winds, their scatter'd honors mourn. Happy the man, and happy he alone, He who can call to-day his own: He who, secure within, can say, To-morrow do thy worst, for I have lived to-day. Be fair or foul, or rain or shine, The joys I have possess'd, in spite of fate, are mine. But what has been, has been, and I have had my hour. Fortune, that with malicious joy Is seldom pleased to bless: Promotes, degrades, delights in strife, I can enjoy her while she's kind; But when she dances in the wind, And shakes her wings, and will not stay, I puff the prostitute away: The little or the much she gave is quietly resign'd: And virtue, though in rags, will keep me warm Who never sail in her unfaithful sea, And pray to gods that will not hear, For me, secure from Fortune's blows, And see the storm ashore. The prose of Dryden, however, is superior to his poetry, and richly deserves all the commendation it has received. His style is clear, vigorous, eloquent "No writer, indeed," says Dr. Drake, "seems to have studied the genius of our language with happier success. If in elegance and grammatical precision he has since been exceeded, to none need he give way, in point of vigor, variety, richness, and spirit." His chief prose compositions are his "Essay on Satire," his Prefaces, and his "Essay on Dramatic Poetry." Of the latter, Dr. Johnson says, that it was the first regular and valuable treatise on the art of writing. His portraits of the English dramatists are wrought with great spirit and diligence. The account of Shakspeare may stand as a perpetual model of encomiastic criticism; being lofty without exaggeration. In a few lines is exhibited a character so extensive in its comprehension and so curious in its limitations, that nothing can be added, diminished, or reformed; nor can tue editors and admirers of Shakspeare, in all their emulation and reverence, boast of much more than of having diffused and paraphrased this epitome of excellence, of having changed Dryden's gold for baser metal, of lower value though of greater bulk."1 1 The highest compliment ever paid to his diction has been recorded by Mr. Malone; namely, TX IMITATION OF EDMUND BURKE, "who," says the critic, "had very diligently read all his miscella neous essays, which he held in high estination, not only for the instruction which they contain, bu on account of the rich and numerous prose in which that instruction is conveyed." |